The Swan Silvertones are a premier gospel group and one of the great music experiences awaiting anyone who has never heard them. If you are not a fan of gospel music or "religious" music of any kind, don't let that fact deter you from having this unique listening experience. This is pure music at the highest level.

The a cappella... [+] Read More

The Swan Silvertones are a premier gospel group and one of the great music experiences awaiting anyone who has never heard them. If you are not a fan of gospel music or "religious" music of any kind, don't let that fact deter you from having this unique listening experience. This is pure music at the highest level.

The a cappella quartet Four Harmony Kings was created by tenor Claude Jeter in 1938 in Coalwood, WV, but the name was changed to the Swan Silvertones when they began a 15-minute radio show sponsored by the Swan Bakery Company on the Knoxville station WBIR in 1942. They developed a national reputation during their contract with King Records from 1946 to 1951, recording some 21 recordings (mostly in the jubilee gospel style) including "I Cried Holy" and "Go Ahead." They joined Specialty Records from 1951 to 1953, but issued only four singles (in a more contemporary, harder style) before they were dropped by that label. The early group had lead singers Jeter and Solomon Womack, tenors Robert Crenshaw and John Manson, baritone John H. Myles, and bass Henry K. Bossard.

They really came into their own when they signed and recorded with Vee-Jay and recorded with that label from 1956 through 1964. The smoother Vee-Jay sound is probably due to arranger Paul Owens, who joined the group in 1952. Influenced by vocal jazz groups like the Four Freshmen and the Hi-Los, Owens smoothed out the sound and made it more contemporary, even progressive. Starting in 1956, the group began adding instruments to what had been up until then a purely vocal or a cappella sound. The excellent guitarist Linwood Hargrove added greatly to the emerging Vee-Jay sound and the additions (on recordings) of jazz sidemen Bob Cranshaw on bass and Walter Perkins -- founding members of MJT (3) -- on drums completed the sound.

Perhaps their greatest hit was "Oh Mary Don't You Weep," released in 1959 -- an incredible listening experience. It is in this song that Claude Jeter intones the phrase "I'll be a bridge over deep water, if you trust in my name" that inspired Paul Simon to compose "Bridge Over Troubled Water" some years later. The Swan Silvertones had a great effect on many rock (Al Kooper) and country (Gary Stewart) artists. During their nine years at Vee-Jay, the main members of the group were tenor (and falsetto) Claude Jeter, baritone John H. Myles, tenor Paul Owens, and bass William Conner. Other singers who were in the group during that time were tenors Dewey Young, Robert Crutcher, and Louis Johnson. When Vee-Jay closed in 1965, the group moved to Hob Records, where they did one last album before Claude Jeter left to record on his own and focus on his ministry. ~ Michael Erlewine, All Music Guide [-] Hide

Although the Blind Boys of Alabama have been singing gospel music for more than five decades, it's only recently that the group has had the benefit of a major record company behind them. Led by founding member Clarence Fountain, the rest of the group currently consists of Eric McKinney, George Scott, Caleb Butler, Johnny Field, Jimmy Carter,... [+] Read More

Although the Blind Boys of Alabama have been singing gospel music for more than five decades, it's only recently that the group has had the benefit of a major record company behind them. Led by founding member Clarence Fountain, the rest of the group currently consists of Eric McKinney, George Scott, Caleb Butler, Johnny Field, Jimmy Carter, Joey Williams, Donald Dillion and Aubrey Blount.

From their inception in the 1930s, when all were boys, the group's members turned their blindness into their chief selling point, and in fact, all members of the group except one are blind. They began singing when all were students at the Talladega Institute for the Deaf and Blind in Alabama, but didn't begin recording until 1948. As a youth, Fountain heard the legendary Golden Gate Quartet on the radio; the early Five Blind Boys of Alabama took their musical cues from that group. The group began singing professionally as the Happy Land Jubilee Singers, and for years lived a day-to-day, dollar-to-dollar existence touring the South.

Since 1948, they've recorded for a variety of small record companies, and had gospel music hits in the 1950s with "Oh, Lord Stand By Me" and "I Can See Everybody's Mother But I Can't See Mine." In 1950, after the death of one of their members, the group renamed themselves simply the Blind Boys of Alabama.

Fountain's group recorded first for the Newark-based Coleman Records label. Between 1953 and 1957, the group recorded for Art Rupe's California-based Specialty label. In the 1960s, the group's hard-driving gospel sounds were imitated by people like Bobby "Blue" Bland and Marvin Gaye. The group recorded extensively for the Vee Jay label from 1963 to 1965. In 1969, Fountain left the group for a decade to try to make it on his own, and the group re-formed with all the original members in the late 1970s.

They didn't enjoy widespread success until 1988, when they starred in an Obie Award-winning Broadway show. According to Fountain, the group's high point was being on Broadway for 15 weeks with the musical Gospel at Colonus. The musical opened up new avenues for bookings to the group, and they began touring theaters and larger churches in the early 1990s, embarking on their first European tours as well. The group was awarded a National Heritage Fellowship in 1994. In 1994 and 1995, the group played festivals including the Philadelphia Folk Festival, the Beale Street Music Festival and the King Biscuit Blues Festival. Mid-1990s television appearances included Black Entertainment Television's On Jazz, and even a cameo on Beverly Hills, 90210. ~ Richard Skelly, All Music Guide [-] Hide

The Gospel Hummingbirds play a combination of traditional gospel (in the style similar to the Swan Silvertones, one of the Hummers' chief inspirations) and modern electrified blues- and soul-injected gospel. For the past couple decades, they have performed at religious gatherings, nightclubs, rock concerts and blues festivals, but regardless of... [+] Read More

The Gospel Hummingbirds play a combination of traditional gospel (in the style similar to the Swan Silvertones, one of the Hummers' chief inspirations) and modern electrified blues- and soul-injected gospel. For the past couple decades, they have performed at religious gatherings, nightclubs, rock concerts and blues festivals, but regardless of where they perform, their joyful praises of God remain the same. The Oakland-based group have been together since the 1970s and were founded by the father of lead vocalist and bass guitarist Joe A. Thomas, who began playing bass with the Hummingbirds when he was only eight. As of 1995, the rest of the lineup included Roy Tyler, Clarence Nichols, James Gibson, Jr. and Mark Smith, Sr. ~ Sandra Brennan, All Music Guide [-] Hide

The Specialty label's most prolific gospel act, the Pilgrim Travelers were among the most successful and influential groups of gospel's golden era; famed for their distinctive "walking rhythm" sound, they also earned renown for their riotous live perfomances and breathless showmanship. The Pilgrim Travelers were formed in Houston during the... [+] Read More

The Specialty label's most prolific gospel act, the Pilgrim Travelers were among the most successful and influential groups of gospel's golden era; famed for their distinctive "walking rhythm" sound, they also earned renown for their riotous live perfomances and breathless showmanship. The Pilgrim Travelers were formed in Houston during the early 1930s by Joe Johnson and Willie Davis; the latter relocated the group to Los Angeles in 1942, taking with him cousins Kylo Turner and Keith Barber. By mid-1945, their ranks included bass Raphael Taylor as well as J.W. Alexander, a light tenor and onetime semi-pro baseball player with Negro league teams including the Ethiopian Clowns and the New Orleans Crescent Stars; he soon assumed managerial control of the group as well.

Like other groups of the period, the Pilgrim Travelers consciously modeled their sound after the Soul Stirrers and the Golden Gates; although Turner was naturally a baritone, he sang in a note-bending falsetto style not far removed from pop crooning, while his co-lead Barber possessed a pure, sweet voice and a flamboyant stage presence. To give the Travelers an edge on the competition, Alexander pushed his partners to hone a tightly choreographed live show which over the years became increasingly frenetic, much to the delight of the many women attending their performances. In early 1947, the group made their first recordings, issuing singles on a handful of tiny L.A. labels; by the end of the year they signed to Specialty, at which time they brought on board a new baritone, Jesse Whitaker, to replace Davis.

After a handful of a cappella songs, the Travelers began recording their material with a microphone picking up the sound of their percussive foot-tapping; Specialty's early press for the group proclaimed "Something New -- Walking Rhythm Spirituals," and the unique sound quickly caught on with consumers. In 1948, the group issued six singles; after just three the following year, in 1950 Specialty released no less than ten Pilgrim Travelers sides, all of them to strong sales (particularly "Jesus Met the Woman at the Well" and "Mother Bowed"). However, at the peak of their success, Barber was involved in a 1950 auto accident which left his voice ravaged; at the same time, the emergence of the Soul Stirrers' Sam Cooke made Turner's vocal style appear increasingly outdated, and seemingly overnight the group's fortunes began to wane.

In the years to follow, lineup changes plagued the Pilgrim Travelers as well -- in 1954 Taylor was replaced by bass George McCurn, and by the middle of the decade both Turner and Barber had exited; by the time of their 1956 demise, the ensemble had recorded over 100 songs. A later incarnation of the group, dubbed simply the Travelers, included Lou Rawls, but was otherwise unremarkable. In 1959, Alexander teamed with Sam Cooke to found SAR Records; the new company attempted to relaunch Turner's career, but in the passing years the singer had succumbed to alcoholism, and he arrived in Los Angeles too drunk to enter the studio. He eventually returned to Texas, where he died a few years after his cousin Barber; Whitaker retired to his family farm in New Jersey, while Alexander remained a sought-after producer and manager. ~ Jason Ankeny, All Music Guide [-] Hide

Indisputably among the premier gospel groups of the modern era, the Soul Stirrers pioneered the contemporary quartet sound. Pushing the music away from the traditional repertoire of jubilees and spirituals towards the visceral, deeply emotional hard gospel style so popular among postwar listeners, the group's innovative arrangements -- they were... [+] Read More

Indisputably among the premier gospel groups of the modern era, the Soul Stirrers pioneered the contemporary quartet sound. Pushing the music away from the traditional repertoire of jubilees and spirituals towards the visceral, deeply emotional hard gospel style so popular among postwar listeners, the group's innovative arrangements -- they were the first quartet to add a second lead -- and sexually charged presence irrevocably blurred the lines between religious and secular music while becoming a seminal influence on the development of rock & roll and soul, most notably by virtue of their connection to the legendary Sam Cooke. The Soul Stirrers' origins date back to 1926, where in the town of Trinity, TX, baritone Senior Roy Crain formed a quartet with a number of other teens with whom he attended church. After one of the group's early appearances, a member of the audience approached Crain to tell him how their performance had "stirred his soul," and from this chance compliment the Soul Stirrers were officially born.

The original group fell apart soon after, but Crain continued to pursue a singing career; upon relocating to Houston during the early '30s, he joined a group called the New Pleasant Green Singers on the condition that they change their name to the Soul Stirrers. So rechristened, this incarnation of the quartet made a 1936 field recording for Alan Lomax; as other members dropped out, Crain brought in replacements, finally arriving at the classic early lineup which also included bass Jesse Farley, baritone T.L. Bruster, second lead James Medlock, and, most notably, lead R.H. Harris, whose high, crystalline voice remains the inspiration for virtually all great male quartet leads to follow since. After moving to Chicago, the Soul Stirrers began shifting away from the signature tight harmonies and compact songs of traditional gospel towards a harder style distinguished by shifting leads and performances elongated to increase their emotional potency; they also began performing new material from the pens of Thomas A. Dorsey, Kenneth Morris, and others.

Throughout the 1940s, the Soul Stirrers' reputation grew; not only were they constantly on tour, but they booked most of the major gospel programs in the Chicago area -- in their spare hours, they even operated their own cleaning business. When the grind got to be too much for Medlock, he retired from the road, and was replaced by onetime Golden Echo Paul Foster. In early 1950, the Soul Stirrers signed to the Specialty label, debuting with the single "By and By"; it was quickly followed by "I'm Still Living on Mother's Prayer" and "In That Awful Hour," both originals composed by Detroit's Reuben L.C. Henry. In total, the Soul Stirrers recorded over two dozen tracks for Specialty in 1950 before Harris quit the group that same year; many predicted a dire future, especially when it was announced that his replacement was a relatively unknown 20-year-old named Sam Cooke. When Cooke made his recording debut with the Soul Stirrers in 1951, however, any reservations were quickly dispelled -- blessed with a gossamer voice even sweeter and more graceful than Harris', he would take the group to even greater heights than before.

The first Soul Stirrers 78 to feature Cooke, "Jesus Gave Me Water," was a major hit, and with his good looks the young singer made an instant impact with female audiences, in the process becoming the gospel circuit's first sex symbol. The group's popularity continued to soar, but as the Soul Stirrers entered their third decade, the daily grind began to wear on its members, and soon Bruster retired; he was replaced by baritone Bob King, who also doubled as a guitarist, becoming their first-ever steady instrumentalist. In 1954, the Soul Stirrers briefly added Julius Cheeks to their roster; after lending his raspy vocals to a recording of "All Right Now," however, contractual obligations forced him to exit almost as quickly as he arrived. In 1956, Cooke finally crossed over to the pop market, and was replaced by ex-Highway QC Johnnie Taylor; while Taylor himself would also enjoy pop success in the years to follow, he failed to command the same devotion as his predecessor. Lineup changes continued regularly in the years to follow, but the Soul Stirrers forged on, with new, younger members keeping the group afloat into the 1990s. ~ Jason Ankeny, All Music Guide [-] Hide

Essential 1950s Vee Jay cuts, some with gospel's premier basso, Jimmy Jones. ~ Opal Louis Nations, All Music Guide

Essential 1950s Vee Jay cuts, some with gospel's premier basso, Jimmy Jones. ~ Opal Louis Nations, All Music Guide [-] Hide

[-] Hide

The Very Best of the Golden Gate Quartet is a terrific collection of songs the group recorded in France for EMI Pathe between 1955 and 1969, including versions of "Shadrack" and "Oh Happy Day." Although these aren't the versions that made them stars, they are nevertheless quite good and offer a good sense of what the group is about. ~ Thom...

The Very Best of the Golden Gate Quartet is a terrific collection of songs the group recorded in France for EMI Pathe between 1955 and 1969, including versions of "Shadrack" and "Oh Happy Day." Although these aren't the versions that made them stars, they are nevertheless quite good and offer a good sense of what the group is about. ~ Thom Owens, All Music Guide [-] Hide

If you listen carefully, the songs are about Jesus rather than love sweet love, but even a casual hearing lets you know this is one of the most soulful duos to come along since Marvin Gaye and Tammi Terrell. Keith Thomas gives the production a contemporary R&B sheen. ~ William Ruhlmann, All Music Guide

If you listen carefully, the songs are about Jesus rather than love sweet love, but even a casual hearing lets you know this is one of the most soulful duos to come along since Marvin Gaye and Tammi Terrell. Keith Thomas gives the production a contemporary R&B sheen. ~ William Ruhlmann, All Music Guide [-] Hide

Two-album reissue collection of some of this stellar group's most explosive moments. ~ Opal Louis Nations, All Music Guide

Two-album reissue collection of some of this stellar group's most explosive moments. ~ Opal Louis Nations, All Music Guide [-] Hide