White Heart was never really born. The band simply evolved.,p>Six talented musicians formed its original lineup. They came together gradually, at various times from different parts of the country, and descended on Alexandria, Indian. There, they passed their auditions at the Bill Gaither School of music ministry. By 1982 all six—Dann and David Huff, Steven Green, Mark Gersmehl, Billy Smiley, and Gary Lunn—were playing for Gaither in the trio, the New Gaither Vocal Band, or both.
After awhile, the six musicians began to get a idea. Connected with some feelings, suggesting and hinting of a new calling, it grew into a conviction—and White Heart appeared. Well, kind of.
Can’t Get Satisfaction
"We were frustrated," says Smiley, who signed on with Gaither to play trumpet and guitar. "We were becoming tired of just being a backup band for various Christian artists. We needed something more to fulfill our lives."
Gersmehl, who had played trombone with the likes of the O’Jays before playing horn and keyboard for Gaither, agrees. "We got to a point where we had played for so many other people that we wanted to deal with what the Lord had for us. We wanted to make our own individual statement.
The six musicians began to make that statement in early 1982. They sweated through the late night studio sessions to produce a demo tape. "It was the sort of thing where you stumble out of the studio at 6 a.m., head for a Dunkin’ Donuts—and figure out what you’ve been doing for the last five hours," Gersmehl recalls.
What the guys had been doing was recording five songs that would catapult them to the heights of Christian music. Well, not exactly.
With tape in hand, the members sought out a label. They went to Word, and Word passed. Then Chris Christian, who had been producing the New Gaither Vocal Band heard the demo. He liked what he heard so much that he signed up the band to his own Home Sweet home label, financed the recording of a polished tape, and took it to the Benson Company.
However, Bob McKenzie, then Benson’s president, didn’t feel his label could promote the album as it deserved. The new and improved demo then went to Myrrh where it was finally accepted. It went on to become half of the band’s self-title debut album.
"I was surprised Word had passed on the demo, because it was the freshest thing I had heard in quite a time," says Christian , the band’s executive producer. Christian remains impressed with his find. "They’re about the most talented group of young Christian musicians I’ve worked with."
Sales of White Heart—nearly 70,000 copies—exceeded everyone’s expectations, especially those of the six musicians. "We didn’t really set out to be a label band," says Smiley. "We were more or less just dabbling with sounds and ideas and experiments. We had no idea what we were doing, but we knew the Lord had given us some talents. We thought, ‘If we can be used as a ministry—a vehicle for playing live and helping kids come to the Lord—we’ll do it."
The album contains material like "He’s Returning," a Gersmehl composition combining the power of rock with the breadth of classical music—what the songwriter calls "orchestral rock." Adding vocals by Steve Green, the song made spines tingle all over the country. Although the album didn’t reveal the band’s full talents, it hinted at the possibilities in store.
Vocal Changes
During 1983, the evolution of the band continued. Green, who never felt that his ultimate place was in a rock band, left for a more traditional, but nonetheless inspirational singing career,
Scott Douglas replaced Green. At 31, Douglas is the oldest member of the relatively youthful band. While growing up, the Minneapolis native had heard more than enough sermons on the evils of rock to convince him that he couldn’t croon the Devil’s tunes. So, he put his energies into art. But strange things happened.
First, Douglas discovered he was partially color blind—a real hindrance to a developing graphic artist. Second, he just couldn’t ignore the fine set of pipes God had given to him. While working as an electronics salesman, he was singing on the side.
Then, one day, he told JoVonne, his wife of six years, that he wanted to move them and their three kids to Nashville to start a singing career. Surprisingly, JoVonne was all for it. Times were rough in Music City for awhile, as Douglas cut grass and held other odd jobs. However, when he attended the audition to fill Green’s spot, he was signed up.
White Heart’s Vital Signs hit the streets in 1984. Songs like "Sing unto the Lam," an orchestral rocker, and the album’s title cut showed how nicely Douglas filled the spot Green had left. The album also showed that, like a healthy organism, the band was adept at adopting to changes—in this case, personnel changes.
With two successful albums, more people came to hear White Heart in concert. Some concert goers would come dressed in surgical outfits similar to those shown on the cover of Vital Sign. Others, who had never heard the band and its message, left the concerts impressed by fine musical craftsmanship and, maybe, became even more interested in the gospel message the musicians expressed.
Evolving & Communicating
Recently, the Huff brothers, sons of Christian composer and arranger Ron Huff, left White Heart. Guitarist Dann went to Los Angeles, where he spends time with his family and pursues a career of sessions and solo ventures. Drummer David, currently touring with Michael W. Smith and Kathy Troccoli, spends most of his time in studios in Nashville and Los Angeles.
Last May, guitarist Gordon Kennedy joined the band. Years ago, when two-year old Gordon was drinking milk out of a bottle, dad Jerry was producing country hits like "King of the Road and "Chug-a-Lug" for singer Roger Miller. Jerry Kennedy has also produced the Statler Brothers, Tom T. Hall, Johnny Rodriguez, and others.
As Gordon grew up, he digested music as well as milk, and his powerful guitar playing can be heard opening the title cut on Hot Line. White Heart’s third, most well-crafted, and cookingest album yet. Gordon also co-authored "The Victory" on the new release.
With only three of its original six members. White Heart continues to evolve. Perhaps the clearest illustration of these changes is in the band’s recent videos, produced by Chris Christian. The concert video of "He’s Returning" for example, has appeared on TBN’s Real Videos show and elsewhere. It features vocalist Douglas mouthing the words originally belted out by Steve Green, while Gordon Kennedy mimics guitar parts played by Dann Huff. The two videos from Vital Signs--the concert version of "We Are His Hands" and the surgery room concept video of the title song—also feature Huff a la Kennedy.
But Bill Gaither still considers the band a sort of musical and spiritual offspring. Like a pleased father, he can’t keep from singing White Heart’s praises. "I’m very proud of them," says Gaither. "I feel very strongly about their Christian commitment and their musical integrity. They understand that really we’re not in the music business. We’re in the communicating business.
The Heart’s Center
At the core of White Heart’s continuing success and musical inventiveness are the skills of original members Billy Smiley and Mark Gersmehl.
When he isn’t doing anything else, Smiley plays keyboards, guitars, sings, and writes songs for the band. When he’s through doing that, he writes songs for other Christian artists—such as Bill Gaither, Sandi Patti, Imperials, Pat Boone, Candy Hemphill, and Larnelle Harris.
Likewise, Gersmehl, too, is whirling dervish of musical activity, writing for Patti, Hemphill, Kathy Troccoli, Farrell & Farrell, Connie Scott, and others. Gaither, who is no mean songwriter himself, has called Gersmehl "one of the few stellar poets" writing today.
When Gersmehl touches on the big issues, his lyrics aren’t peachy or heavy-handed. Rather, he tries to draw the listener closer to God.
"It’s a responsibility and wonderful privilege," Gersmehl says, admitting that songwriting is also a subtle form of manipulation. But, he says, "I’m merely leading them with the truth."
Musically and lyrically,White Heart continues to beat strong. The message is clear, straight, and true—and the music is a swift and powerful vehicle.