The Imperials: Pioneers of Contemporary Christian Music

 The Imperials have been a cornerstone of American Christian music for over 55 years. Originating as a Southern gospel quartet, this trailblazing group became pioneers of contemporary Christian music in the 1960s. Over the decades, they have evolved in both membership and musical style, earning numerous accolades, including four Grammy Awards, 15 Dove Awards, and induction into the Gospel Music Hall of Fame.

The Beginning with Jake Hess

The story of the Imperials began on December 7, 1963, when Jake Hess, a prominent member of the Statesmen Quartet, chose to retire from the group. Driven by a vision to establish a new ensemble that would reign supreme in the Southern gospel music scene, Hess adopted the name “Imperials” with the approval of Marion Snider, who had previously run an Imperial Quartet named after Imperial Sugar.

Hess meticulously assembled a talented lineup to bring his vision to life. The original members included pianist Henry Slaughter from the Weatherford Quartet, baritone Gary McSpadden, bass singer Armond Morales, and tenor Sherrill (Shaun) Neilsen from the Speer Family. Their collective musical expertise quickly set the foundation for a group that aimed to elevate Southern gospel music.

In 1964, the Imperials secured a recording contract with Benson Records and released their first album under the Heart Warming Records label. This pivotal moment heralded their entry into the music industry and marked the beginning of a prolific recording career. The following year, the group made another significant move, relocating from Atlanta, Georgia, to Nashville, Tennessee, further solidifying their presence in the gospel music capital.

As the years went by, the Imperials experienced several lineup changes, starting with the departure of tenor Neilsen after two years. He was succeeded by Jim Murray, who brought a wealth of experience from his previous work with groups such as The Melodares, the Stamps Trio, Inspirationals, and the Orrell Quartet. Shortly thereafter, Henry Slaughter also left the group, making way for Joe Moscheo of the Harmoneers to take over as pianist.

Through these transitions, the Imperials maintained their commitment to excellence in musical performance and songwriting, continuously shaping the landscape of Southern gospel music. Their legacy is marked by innovation, dedication, and an enduring influence on generations of gospel musicians.

The Elvis Era

In late 1966, following the departure of Henry Slaughter, Jake Hess sought to revitalize the sound of his ensemble by assembling a new band. This revamped group featured Joe Moscheo on piano, Larry Benson contributing on drums, keyboard, bass, and other instruments, and Dave Mathis on electric guitar. However, within a few months, Ron Hamm took over the guitar position, solidifying the band’s contemporary direction.

As 1967 progressed, Hess faced health challenges, specifically heart issues that necessitated a break from touring. By year’s end, he stepped away from the road under doctor's orders, handing over the leadership of the group to Morales, Moscheo, and Murray. During this transitional period, McSpadden also opted to leave the lineup.

To further enhance the group’s dynamic, new members were introduced: Roger Wiles, formerly of the Melodaires, and Terry Blackwood, who had previously performed with the Stamps Quartet. This invigorated version of the ensemble retained the name The Imperials, moving away from the original "Jake Hess and the Imperials" branding. Their shift towards a more contemporary sound culminated in the release of the 1967 album New Dimensions, which marked a significant turning point in their career. The album not only showcased their evolution but also earned them the distinction of "Male Quartet of the Year" in 1969 from the Gospel Music Association, marking the beginning of a fruitful era for The Imperials.

Elvis Presley’s affection for gospel music, particularly for the renowned singer Jake Hess, significantly shaped his musical journey. From May 1966 to June 1971, The Imperials recorded with Elvis, contributing to some of his most celebrated albums. Notably, "How Great Thou Art" won a Grammy for its title track, which featured a memorable duet with Hess on the classic Statesmen song "If the Lord Wasn't Walking by My Side." Similarly, the album "He Touched Me," which also earned a Grammy for its title song, included several selections previously recorded by The Imperials.

In 1969, after the Jordanaires declined Elvis' invitation to join him in Las Vegas due to their commitments as studio singers in Nashville, The Imperials seized the opportunity to perform alongside him in concert. Their association with Elvis complemented their simultaneous appearance on the Jimmy Dean television show, showcasing their versatility and appeal.

During this period, Larry Gatlin auditioned for The Imperials in the fall of 1970. He received the opportunity to join the group in early 1971, performing alongside Jimmy Dean in Las Vegas. However, his stint was brief, lasting under a month, as he transitioned to a solo career in country music with the support of Dottie West. His departure paved the way for Greg Gordon to take his place.

By November 1971, The Imperials opted to discontinue their performances with Elvis due to scheduling conflicts, marking the end of an important chapter in their history. The following year, they also concluded their engagements with Jimmy Dean, signifying a shift in their artistic trajectory. This period remains a testament to The Imperials' significant contributions to the gospel and popular music landscape during the 1960s and early 1970s.

Breaking New Ground in CCM

In the early 1970s, The Imperials emerged as a groundbreaking force in Contemporary Christian Music (CCM), challenging the norms of the genre and pushing boundaries. The February 1972 recruitment of Sherman Andrus marked a significant turning point, as he became the first African American member of a predominantly white Christian group. This decision not only resonated with fans but also underscored the group's commitment to inclusivity, with Andrus humorously noting their pioneering spirit as "to boldly go where no black man had gone before."

The stable lineup featuring Andrus and Terry Blackwood, as shared lead vocalists, brought the group tremendous acclaim until the mid-1970s. After the recording of Follow the Man with the Music, foundational member Joe Moscheo departed, and soon after, Andrus and Blackwood transitioned to form Andrus, Blackwood & Company. This shift prompted the Imperials to redefine their sound and dynamics.

In 1976, they welcomed baritone David Will and lead vocalist Russ Taff, whose soulful delivery captivated audiences. The Taff-led ensemble was pivotal, resulting in a series of successful albums, including Sail On, Imperials Live, Heed the Call, One More Song for You, Christmas with The Imperials, and Priority. This era not only solidified The Imperials’ place in the hearts of CCM fans but also earned them significant accolades, establishing them as one of the most celebrated groups in the genre’s history.

With members Jim Murray and Armond Morales rounding out the lineup, The Imperials transformed from pioneers into headliners, demonstrating the power of collaboration and diversity in music. Their journey reflects the broader evolution of CCM, showcasing the genre's embrace of varied influences and backgrounds, paving the way for future generations of artists.

A Legacy of Innovation and Ministry

After five impactful years with The Imperials, Taff chose to pursue a solo career, marking a significant transition for the group. During this pivotal time, Paul Smith, who had initially crossed paths with The Imperials while promoting a concert at Baylor University, provided a tape of his music to Armond Morales. When Morales learned of Taff's impending departure, he reached out to Smith, recognizing the potential for collaboration.

Smith’s entry into the group was marked by notable achievements, including the release of the album "Stand by the Power" in 1982, which showcased his vocal prowess and contributed to the group's evolving sound. Another highlight of his tenure was the ambitious two-disc album "Side by Side," wherein each member was given the opportunity to feature a solo side. This innovative approach not only highlighted the individual talents within the group but also earned them their last Dove Award.

Following this creative period, The Imperials returned to their roots with "The Imperials Sing the Classics," a project that reintroduced their signature four-part harmony. This resurgence led them back to their contemporary Christian music roots with the release of "Let the Wind Blow" in 1985.

However, the group's dynamics were subject to further changes as Smith and long-time tenor Jim Murray departed. Smith embarked on a solo career within the contemporary Christian music scene while Murray sought to reconnect with traditional gospel music. In the wake of these departures, Danny Ward was brought in as a replacement for Smith, but he left before the band could record any albums. Ultimately, Jimmie Lee Sloas and Ron Hemby stepped in, infusing the group with a renewed sense of youth and energy, with Hemby later joining the country band The Buffalo Club. This evolution of The Imperials reflects the ongoing changes within the band as they continued to adapt and grow in the dynamic landscape of Christian music.

The Imperials stirred the music scene in 1987 with their album This Year's Model, marking a significant departure from their established soft pop-rock sound. This shift toward a more robust rock sound, featuring prominent electric guitars, sparked controversy among long-time fans. However, the album produced the hit "Power of God," which resonated with Christian bodybuilders, particularly The Power Team, helping to attract a new, younger demographic to Imperials concerts.

Following This Year's Model, the album Free the Fire saw a partial return to the band’s softer roots. However, after its completion, Sloas pursued a solo career, prompting the arrival of David Robertson as the new member. The lineup continued to evolve, and after the release of Love's Still Changing Hearts in 1990, Robertson also opted for solo pursuits, paving the way for Jason Beddoe and Jonathan Hildreth—who would later become known as Jonathan Pierce—to join.

The Imperials received a surprise endorsement when Naomi Judd heard Hildreth sing a solo during his time with the Christ Church Choir in Nashville, prompting her to recommend him to the group. In a surprising twist in 1991, Armond Morales invited his sister Pam Morales into the lineup. Though she had previously performed as a backup singer in the early 1980s, this marked the first time a woman took a front-line position in the quartet. She joined after Beddoe's departure while the group was recording Big God and remained with the band until the 1993 release of Stir It Up. This strategic move not only diversified the group’s sound but also showcased their willingness to embrace change in a dynamic music environment.

New Focus on Ministry

In 1993, The Imperials underwent a transformative shift in their approach to music and ministry. Moving away from the high-energy, large-scale concerts that had characterized their past, the group embraced a more personal and intimate style of performance. This pivot involved scaling down their act to prioritize simplicity and direct engagement, opting for performances in local churches with free-will offerings as the primary compensation. This decision not only deepened their connection with audiences but also allowed them to reach a broader range of congregations, leading to over 200 church performances that year—an impressive increase compared to the previous two years.

With Brian Comeaux taking the lead and a rotating cast of tenors including Mark Addock, Peter Pankratz, and Bill Morris, the focus shifted away from commercial recordings during this period. The emphasis was on ministry rather than profit, reinforcing the group's commitment to their spiritual mission.

In 1994, The Imperials welcomed new members Steven Ferguson and Jeff Walker, both ordained ministers, adding depth to their ministry-driven approach. By now, other members, including Armond Morales and Will McFadden, had also received ordination, further solidifying the group's ecclesiastical foundation. This year marked a transition as well, with The Imperials signing a one-project deal with Impact Records, which had been re-acquired by Homeland Records and Landmark Distribution. After a hiatus from recording, they released Til He Comes, a work that embraced their hallmark four-part harmony, shedding the harder edges of their previous sound, and reconnecting with long-time fans.

The group's contributions to gospel music received recognition when they were inducted into the Gospel Music Association's Gospel Music Hall of Fame in 1998. All five original members—Hess, Morales, McSpadden, Sherrill, and Slaughter—joined esteemed peers such as Blackwood, Andrus, Moscheo, Murray, and Taff for this momentous occasion.

The legacy of The Imperials continued to evolve, particularly in 2003 when they celebrated their enduring connection to Elvis Presley with a reunion concert titled "Elvis Lives," marking the 25th anniversary of their collaboration with the legendary performer. The concert and DVD recording, held in Memphis, Tennessee, reflected not only on their past but on their ongoing commitment to share the message of faith through music.

Through these changes, The Imperials reaffirmed their focus on ministry, guiding their artistic choices and outreach efforts, while fostering a lasting bond with their community and fans alike.

The Next Generation 

In September 2004, a significant transition took place within The Imperials as Armond Morales passed ownership to the next generation: Jason Morales, Jeremie Hudson, Ian Owens, and Shannon Smith. This pivotal move marked the beginning of a new era for the group, who quickly demonstrated their capacity to honor and innovate within the legacy of The Imperials.

The lineup made an impressive impact with the release of two albums, The Imperials in 2006 and Back to the Roots in 2007. The latter album was particularly notable, featuring fresh renditions of beloved classic Imperials songs and propelling the group back into the charts with their first top 20 hit in over a decade. This resurgence not only rekindled the group's connection to its fanbase but also welcomed a new generation of listeners.

Their accomplishments reached a peak in 2008 with a groundbreaking performance at Carnegie Hall—their inaugural appearance at this prestigious venue. The significance of this milestone was heightened when The Imperials were inducted into the Christian Music Hall of Fame later that year. Although founder Paul Taff was acknowledged separately for his contributions, he shared the stage with his fellow group members during the induction ceremony, reinforcing the importance of unity in their legacy.

In April 2008, recognition continued to pour in as Back to the Roots garnered the Southern Gospel News Awards' Album of the Year award. This accolade underscored the critical acclaim the group received during this transformative period.

However, by early 2010, changes were once again on the horizon. The lineup, consisting of Jason Morales, Ian Owens, Scott Allen, and Perry Jones, disbanded, signaling another evolution in the storied history of The Imperials. This cycle of transition showcases the enduring spirit of The Imperials as they continue to redefine their place in the music world while honoring their past.

Classics Return as The Imperials

After a period of uncertainty and legal challenges surrounding the legacy of the "Imperials" name, the iconic gospel group has emerged revitalized and ready to reclaim its place in the music scene. Armond Morales, the lone original member still performing, has reunited with fellow Imperials alumni, Smith and Will, to join forces with General Manager Robbie Hiner and lead singer Rick Evans. Together, this talented ensemble marks a significant chapter in the storied history of The Imperials.

In 2010, the reunited group released their first project since Smith’s return after a 25-year hiatus, aptly titled Still Standing. This album symbolizes not only the resilience of The Imperials but also their unwavering commitment to preserving the essence of their musical roots. The collaboration showcases a blend of classic harmonies and contemporary arrangements, catering to both longtime fans and a new generation of listeners.

Through this reunion, The Imperials aim to continue their legacy of delivering powerful messages through song, inspiring audiences with their spiritual and uplifting music. As they embark on this new journey, the group remains dedicated to honoring their past while embracing the future with renewed energy and creativity. The commitment to excellence that characterized their earlier work persists, inviting listeners to join them on this remarkable revival of an enduring classic.