Al Hot Mix Holmes and the Chicago Gospel House Underground

by King Staxx | Published April 2007 | Features Archives

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5 MAGAZINE: What's the difference between a Gospel House song and a Gospel song that sounds House?

AL: It's the producer. Only a House producer knows the mechanics to House music. It may sound Housey, but not really House as we know it. You hear that all the time in R&B music. It's close but not quite it, because the producer is a true musician but not a househead.

5 MAGAZINE: Do you think the gospel industry is ready for the House sound?

AL: Yes, they just need to be exposed to it. I think slowly but surely, it's happening. A few major labels have played around with it. Yolanda Adams has been remixed a few times, Kirk Franklin, Mary Mary, Hezekiah Walker, Ricky Dillard... As of lately, there's a new House remix of "Highest Praise" by The Anointed Pace sisters, done by Terrance Parker that's tight.

But that's just the gospel industry. Gospel House/Inspirational technically has been around as long as House has existed, but the phrase "Gospel House" wasn't coined yet. Just think of songs you heard back in the day: Alyus' "Follow me," Barbara Tucker's "I Get Lifted," Green Velvet's "Preacherman," Xodus' "Lift Up Your Hands," and a lot of Roy Davis, Jr.'s work. Strictly Rhythm's catalog is full of early Gospel House music.

5 MAGAZINE: What is the definition of Gospel House?

AL: I like to use the term "Gospel House/ Inspirational music," because not all of the music out there says Jesus on it, but the message is still strong and positive on a spiritual level. What I mean is this: It's music that is positive and refers to overcoming obstacles, gaining strength to carry on, from a source other then yourself, or on your own power. Because by yourself, you could not do it alone. You needed help in some way. I believe this is the true reason for House Music. People have always referred to their experience with House on a spiritual level. It wasn't just music and dancing. It was an experience, a release for others. There has always been this intangible element to House Music. And I think that now as I reflect, House was intended to be Gospel Music.

5 MAGAZINE: Who are some of the top Gospel House DJs?

AL: Well, I would have to throw my hat in. Definitely Ed "Get Down" Crosby, nobody can do choir-based songs like Ed can. Farley "Jackmaster" Funk, Terrance Parker, Frankie Vibe and Tony Mundaca, and many more.

5 MAGAZINE: Why did you decide to start Pathway Records?

AL: Well, when I started to build my collection of Gospel House music, I had a very, very difficult time. I learned that there are Gospel DJs globally, dedicated to Gospel House music, but getting the music is a different story. This category is so new and most people don't even know it exists. You just can't walk up in a record store and go to a "Gospel House" section. That, along with the fact that no one is producing this music on a consistent basis. I would have to wait three or more months before I found any new tracks.

I realized that I needed to start producing this music on a consistent basis, like other House Music, if this was going to change. Thus Pathway Records was born in 1997.

I also noticed that you have artists like Kenny and Su Su Bobien, Dawn Tallman, Michelle Weeks, Stephanie Cooke, Jocelyn Brown, and Barbara Tucker who are somewhat consistent. But they release material on numerous different labels, which makes it even harder to track them down when they do sing a Gospel House song. So I want to be that source. When you see Pathway Records, you know what you're getting: Chicago Gospel House music at it's best. And it's consistent. My goal is to have a new release at least every two months.

5 MAGAZINE: Where is Pathway today? Was there a merger? Are any other people involved?

AL: Pathway has grown a lot. I have a new business partner in Will Wilson, who is essential in the progress that we are making with the label and the other businesses that we run. There are many people involved in our network that make us who we are today - over 50 people in the industry that we're tied to, and numerous DJs globally and nationally through our two record pools. Also, a few radio stations and radio personalities, plus various stores, and venues for the music to be sold and heard.

It's a lot of work, just for the main fact that this is all foundational work. Technically there isn't a "Gospel House industry" right now. The market is not even in the infant stage - it's still an embryo. This is because, in my opinion, there is no consistency. Yeah, people are making this music. But you're not guaranteed to see a new Gospel House song every month, or every other month, or even every quarter for that fact. This has to change, in order for this to be a viable market.

The newer forms of Gospel music are also having a hard time getting notice, such as Rhythm & Praise, holy hip-hop, and Gospel reggae. Most of your larger markets are very traditional and quartet-based. Trust me when I say this: Kirk Franklin and Mary Mary had lots of hurdles and road blocks to pass just to get were they at. The gospel industry is very reluctant to change, mostly due to fear and religion. Remember in my earlier conversation: the church didn't take me as I am with completely open arms. Kirk Franklin had to prove himself to the church.

So I said, let's use what worked before. The power of the DJ - it never fails. Just think: we're everywhere. In the clubs, on the radio, in the schools, at your block party, playing at your relative's birthday party, at all the weddings, grand openings, cruises, and the list don't stop. Musically, the DJ is the most powerful force on earth, when used correctly. The radio may not play it due to politics. But if it's hot, DJ will play it. DJs have never been tainted by the world system. We have always stayed true to the music, and how to present it. If this is going to be a viable market, then DJs, as before, are going to establish it.

5 MAGAZINE: House music today is more melodic and smooth. Do you feel producers have forgotten about the "Chicago JACK" sound that was so popular?

AL: It's hard to say. I think people follow trends, it seems to be human nature now. People tend to be afraid to follow their own feelings. One of the things that made the House seen so unique was the freedom of expression. Come as you are. The freedom to wear what made you feel good. The whole idea of you just be you.

I remember seeing a poster with Prince on it wearing this Zorro type hat, with the big, flat, wide brim. I said, "That's so live!" (as we said back in the day). I had to have it and put my spin on it. The only place I could find one was at the Mad Hatters on Halsted near Roosevelt. I wore it every chance I got. The regular folks would laugh at me and make jokes. But when I was at a warehouse party, or saw another househead, they would be like, "Hey, that's a live hat! Where'd you get it?" People either loved it or hated it. And I was proud of that, there was no in between with that hat!

Being an individual was celebrated in the House community. That's not the case now. There is this pressure to fit in, don't make waves, look and talk and sound like everybody else.

5 MAGAZINE: Are you producing any new tracks for 2007?

AL: Yes, we're in heavy production, so you'll see a great deal from Pathway Records in 2007. We have "Out of Bondage" coming out real soon. Plus D.U.B. ( Da Underground Brothers), Denise Spencer (who I call my private Loletta Holloway), Candice, Jesse Dean Stanford, Vonzel, and myself, followed by tons of remixes.

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