We all know that the music is incomparable. Gospel has that ability to captivate you with its incredible energy combined with the glorious message that it brings.

But as you very quickly discover on this must-see Gospelmentary, the background, the struggles, the personalities and the way that God brings everything together in His impeccable and perfect timing, is almost just as compelling.

Titled Higher Ground: Voices of Contemporary Gospel Music, this 97-minute DVD movie examines the rise of contemporary Gospel over the past few decades by going straight to those who have the inside scoop. With extensive interviews with not only record label executives and radio announcers, but most importantly the artists themselves, you are immersed in the history of the genre and you feel the thrill of the experience by gaining the insight of those who sang and wrote the hits.

The project is the brainchild of music journalist and film producer Marcia Kenon. Tapping the vast resources offered by renowned urban music veteran Violet Brown and also recruiting Emmy winning Damon Stout (Bulldog, Nomad Roe) to direct the feature.

Like its predecessors (such as the groundbreaking Say Amen, Somebody, released in 1980), the Gospelmentary documents the trials of pioneers such as Thomas Dorsey and Mahalia Jackson. But things quickly fast-forward to the topic of Edwin Hawkins’ “Oh Happy Day”, The Winans’ various hits, Tramaine Hawkins’ “Fall Down”, The Clark Sisters’ “You Brought The Sunshine”, Kirk Franklin’s “Stomp” and Mary Mary’s “Shackles”.

Several of these artists weigh in with their perspective, recalling what it was like to be on the receiving end of the wrath of some in the church community who didn’t understand their contemporary methods at reaching the youth of their generation. Especially poignant are the comments from Edwin Hawkins, as he identifies with the slander that Kirk Franklin suffered during the times when “Stomp” was making waves.

Also offering perspective to the matter are artists such as Tonex, Albertina Walker, Andrae Crouch and Fred Hammond. From the executive side, there’s some fascinating commentary from Vicki Mack Lataillaide of GospoCentric and Max Seigal of Verity Records. Dr. Bobby Jones also offers some candid expression.

In fact, that’s what makes the impact of Gospelmentary so great. There’s no narration, the story behind the hits is told by the artists themselves, and is deftly spliced together to generate a seamless continuum, as themes are retold by the artists whom God has brought to the national stage from decade to decade.

The latter half of the DVD delves into the most recent genre of Gospel music to receive scrutiny —holy hip hop [check out the companion CD to this DVD, a hip hop compilation titled Higher Ground: Hip Hop Reborn & Reformed].

The Cross Movement break it down, as to the marketing challenges that face Gospel crews today, while Jah Word explains the dangers of emcees moving into their game without a solid foundation of the Word. Others such as FLO and Coo-B of Christsyde and Danny Wilson and eDDie Velez of HolyHipHop warn of the dangers of attempting to reach the hip hop culture without the prerequisite set of rap skills.

Verity’s Seigal lends support to the argument, offering that longevity in Gospel music, whatever the format, is contingent on the strength of the artist’s ministry. Further insight from artists such as T-Bone and Elle R.O.C.

That topic takes Higher Ground out on a high note, as artist after artist and emcee after emcee offer testimony on the importance of ministry, with examples from Yolanda Adams, Karen Clark Sheard and several others.

You would be right to classify Higher Ground: Voices of Contemporary Gospel Music as not only an essential element documenting Gospel history, but a valuable resource in discovering the realities and practicalities of Gospel music ministry.