How is gospel music different from secular?
The album seems to walk the line between the two. Clarence: You need to crossover. Let people know you can sing a song. Sam: We need to find a way to attract an audience. It’s a different world now. You can’t pray in school. We’ve got rights we never had before. Some are good, some not. Donald Fagen plays a song on this album. How did that come about? Sam: In ’83 I was asked to put together the “Gospel at Colonus” (which was the catalyst for the Blind Boys to crossover to the masses) at the Brooklyn Academy of Music. I brought in the Blind Boys and the Soul Stirrers. Donald came to a show and loved it. We stayed in touch and are constantly working together. He’s a real student of gospel music: he plays melodica on the album. It was a real thrill, since he really doesn’t play outside of Steely Dan. You both have done lots of session work for secular artists. How do you approach a session with someone like Peter Gabriel, who comes from a different musical world than you? Clarence: I make
