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Last year marked Andraé Crouch's 40th anniversary of forming The Disciples—his first ensemble of singers—but the innovator, boundary breaker and legend hasn't slowed down a single bit. Though it's been a while since his last solo album, he's kept busy working with other artists as a songwriter, arranger and producer—including work with Elton John, Quincy Jones, Vanessa Williams and Michael Jackson. On top of all that, he regularly mentors new artists and stays plugged in with various church ministries. Yet the time has finally arrived for his much anticipated return to recording, found in the brand new album Mighty Wind. Christian Music Today caught up with Crouch recently to hear about his new CD, early memories of the Jesus Movement, his ability to blur color lines and more..

How does it feel to be officially back in action?

Andraé Crouch: I've heard people refer to certain artists they haven't seen in the marketplace [for awhile] and they sort of think they've moved, packed up from here and gone to Japan or China, but I've still been around! We just haven't been making records. I've been working on a new album, and always felt like I've never gone anywhere. I just took some time to record and get things done the way they needed to get done.

What are the differences writing for yourself versus someone else?

Crouch Actually, there's no difference whatsoever. It's always been difficult for someone to tell me a story. I'm not as blessed as some people, and it's a different thing for me to hear a story and have someone tell me what they want me to write. Usually when someone records my songs, they become an array of tunes I've already written that would fit into a particular style with them. I might arrange it in a way with that character in mind that could be different from going out solo. I may put on some background vocals or none at all. But I love writing for people as far as a song, just not in the character of them.

What type of writing direction did you take up for Mighty Wind?

Crouch This new album only has one song I've previously recorded and the rest [are new songs]. I'm a Joseph coat of many colors. I like so many kinds of music, and that's a plus in fact that I haven't been stuck in a musical style according to geographically where I am. I've traveled around; I've gotten a little bit of everybody. When I look for a song to write, I could be inspired by anything. It might be a car passing by and me hearing a kick drum or a high hat. Then I'll go to the piano and go in that style. If it reminds me of some place I've been, then I'll start writing in that character.

What have you discovered from your travels outside America about how other churches perform your material?

Crouch When I first went to Africa, I heard them sing all American music. I wanted to hear them! It's okay to pick up something, but don't let that be the only thing you do. And I'm glad that when I've heard my songs in [other trips] to Africa and different countries that they sing it [in the style of their region]. I don't want them to have an Andraé trademark. I want people of Africa and people of Japan to sing the way they sing.

How do you balance the art of having such stellar production with accessible material for the church?

Crouch When I first started, I never considered myself a singer. Everybody that I liked didn't sing anything like me, so I couldn't do what they did. I used to limit my writing according to what I could sing, so my melody became a plus because the average truck driver could sing them. In black gospel music, that's a negative sometimes and a plus other times because it pulls the best out of you—the strength to hit those notes. Much of it is geared in performance. It may not even be a good song, but if people like the way it's sung, it's accepted. I always try to write songs, as my father told me, with melodies a truck driver could sing. My range is limited, so I've usually kept the melodies at certain register. My songs are singable because of my deficiency. God uses the strength out of weakness!

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