What happens when you encounter a stout man, his wisecracking tenor brother (who is technically a baritone but sings bass and writes songs), and the stout man's Rubenesque wife, a former aspiring opera singer? You've just met The Happy Goodman Family, one of Southern Gospel music's most influential pioneers from the 1960s through the 1990s. Though the original members have passed away, their impact on the genre remains indelible.
Innovations in Sound and Style
The Happy Goodman Family made several key contributions that set them apart. One significant innovation was their incorporation of country music instruments into their band. Unlike contemporaries such as The Blackwood Brothers and The Speer Family, who initially eschewed guitars in their recordings, The Goodmans embraced the sounds of Nashville. Howard, Vestal, Sam, and Rusty enlisted Nashville-style rhythm, electric, and steel guitarists (including Billy Grammar of "Gotta Travel On" fame, and Dwayne Friend), as well as drummers, to enrich their sound. This was a daring move at the time, as some considered the use of country instruments to be a profanation of sacred music.
Beyond their instrumentation, The Goodmans also distinguished themselves with their touring arrangements. They invested in a Silver Eagle bus, the "Cadillac of buses," to transport them to all-day and all-night singings throughout the South. A photo of the group with brother Bobby (who played bass guitar) standing in front of the bus can be found on the www.vestalandfriends.com website.
The Signature "Goodman Sound"
Another defining feature of the Goodman musical arsenal was their unique approach to vocal harmonies, particularly their extended final notes. Howard would sustain a note, Vestal would join in, Sam would hit the highest note, and Rusty would bellow the bass. The resulting sound was nothing short of tremendous, creating a signature "Goodman sound" that was instantly recognizable.
The Personalities Behind the Music
The Goodmans were also known for their distinct personalities. Howard, affectionately known as "Happy," was a large man with an imposing presence. His weight was a frequent topic of jest, particularly by his brother Sam. Vestal, Howard's wife, was also a sizable woman, famous for her beehive hairdo (which she revealed in her autobiography was a wig) and her powerful voice. She was known for waving her trademark white handkerchief as she sang, a gesture of reverence to God.
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Sam, one of the two brothers, possessed a medium build and a sophisticated style. His songwriting contributions were invaluable to the group, setting them apart from many of their contemporaries who relied on outside writers. Sam's comedic talents were also a major asset. He had the ability to tell jokes on command, lightening the mood and engaging the audience. Sam made fun of virtually everything and everybody--from his family to the White House. "I got nothing to say about Jimmy Carter," he quipped, "he ain't done nothing." Sam was noted for his recitations--reading/performing a poem set to appropriate background music. For example, "The Beauty of a Child" deals with a father watching his child at night and thinking about the future; in the background, "Brahms' Lullaby" plays. However, Sam usually kept a comic relief in the air when the songs were getting a bit too intense or to get the crowd ready for a camp-meeting type of song, in which all four Goodmans had a part--they would all start the song, then go in separate directions simultaneously, then end in that extended note-holding way that made them famous.
Facing the Winds of Change
As contemporary Gospel music gained popularity in the 1970s, The Goodmans found themselves at odds with the evolving musical landscape. Groups like The Oak Ridge Boys, with their long hair, bell-bottom suits, and songs that deviated from traditional Gospel themes, were criticized by The Goodmans for what they perceived as a departure from the true message of the music. Onstage, they publicly criticized The Oaks and all who followed their lead. However, over time, the animosity lessened, and Howard and Vestal eventually shared the stage with some of those they had previously criticized, thanks to Bill Gaither's "Homecoming" series.
Ironically, The Goodmans themselves eventually split up over Rusty's desire to modernize their sound and embrace contemporary Gospel. Howard and Vestal continued to tour as a duet, while Sam, Rusty, Rusty's daughter Tanya (who later married Michael Sykes of Ponder, Sykes, and Wright fame), and tenor Johnny Cook (who had toured with The Goodmans during Vestal's recovery from heart surgery) formed The New Happy Goodman Family. Cook's high tenor voice filled in for Vestal and was showcased on their release "What a Lovely Name." Fans thought Vestal's voice took the lead, but an uncredited Johnny Cook supplied the sound; he was later replaced by Michael English. Eventually, Sam and Rusty also went their separate ways.
A Lasting Impact
Today, the only remaining member of the traveling Goodmans is Howard and Vestal's son, Rick. Howard passed away a few years ago, after suffering from declining health and knee problems. Vestal died later, during the Christmas season, after having recorded an album of Christmas songs, both sacred and secular.
Despite the passage of time and the changing musical landscape, The Happy Goodman Family's influence on Southern Gospel music remains undeniable. Their innovative sound, distinctive personalities, and unwavering commitment to their faith have left an enduring legacy. On a CD called Remembering the Happy Goodmans, The Perrys came close to reproducing the Goodman sound--even using the same musical arrangements. Yet one can imitate but never duplicate a sound that was as powerful as the sound of these three brothers and a wife. Their journey is over, but their influence lives on.
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