Randy Byrd
Making the message mandatory By Jantina Baksteen and Lorraine Walker
Many Southern gospel fans know Randy Byrd as the rich, mellow bass singer of the Mark Trammell Quartet. They may not know that he started singing at the age of five, though perhaps not as a bass. “No, I wasn’t a bass at five,” shares Byrd. “(I) actually sang high until I was 14. Then, my voice changed. My dad was a pastor, and I sang at church growing up. Our school administrator taught me to sing bass.” Interestingly, if that administrator had taught Byrd to play the links, this might have been a different story altogether. Byrd says that if he wasn’t in his current profession, he would like to be a professional golfer. “I started a part-time regional group called Eastern Sky,” Byrd says. “(I) sang with them for about four years, from 1994-98. Then, I joined Majesty Quartet and sang with them 98-2004. I then started singing professionally full-time with the Blackwood Brothers from 2004-12.” Even seasoned professionals can find it difficult to obtain full-time work in Southern gospel. “After leaving them, I did some fill-in work with the Anchormen, LeFevres and the Songfellows before join-
ing Mark Trammell in 2014,” recalls Byrd. Byrd says that he has learned much from Trammell, who is a pastor with years of experience singing with some of the most notable groups in Southern gospel music,. “There are countless things I learn every day with Mark, but I think my (favorite) lesson is to work hard at my craft, be consistent, but most of all, be genuine,” says Byrd. “Know what and who you are singing about, and sing to the people, not at them. The message of the song is the single most important part of being on stage.” Byrd followed Pat Barker in the fourth spot with the quartet. He has now made his own mark on the group, no doubt influencing many young singers in the audience with his musical prowess and authenticity. Byrd himself has been impacted by bass singers who have gone before. “George Younce is my all-time hero and biggest influence, also Rex Nelon” Byrd says. “I loved them both, because they were growlers but just incredible singers with low voices.” Byrd gave a quick lesson on how to sing well in the
