The Mississippi Mass Choir was one of the most influential gospel groups of the late '80s and '90s. Under the musical direction of David R. Curry, the 100-voice choir served their Lord with a sound that made them a constant presence on Billboard's gospel charts. Each of their recordings have reached the top position on the charts. Their debut... [+] Read More

The Mississippi Mass Choir was one of the most influential gospel groups of the late '80s and '90s. Under the musical direction of David R. Curry, the 100-voice choir served their Lord with a sound that made them a constant presence on Billboard's gospel charts. Each of their recordings have reached the top position on the charts. Their debut album, Live, recorded during a 1988 performance at the Jackson, MS, Municipal Auditorium, remained on the charts for 45 weeks and earned the group James Cleveland GMWA awards as contemporary choir of the year and best new traditional artist of the year. Their second album, God Gets the Glory, reached number one two weeks after it was released in 1990. The Mississippi Mass Choir's most successful album, It Remains to Be Seen topped the charts for 12 months and received a Soul Train music award as best gospel album of 1993. The album was the choir's last with founder Frank Williams (June 25, 1947, to March 22, 1993), a member of the Jackson Southernaires and an executive in the gospel music division of the Maleco record label. Determined to bring together the best gospel voices in Mississippi, Williams had convinced Jerry Mannery, the head of Maleco's gospel division, to sign the band to a record deal and serve as executive director. With their albums released since Williams' passing, I'll See You in Rapture, Praise the Lord, and Emmanuel (God With Us), the Mississippi Mass Choir continues to dedicate itself to its self-described mission of "serving God through song." ~ Craig Harris, All Music Guide [-] Hide

Acknowledged as a prime influence by no less than Little Richard, the Birmingham, Alabama-based Original Gospel Harmonettes was among the greatest and most successful female gospel groups of the 1950s; led by soloist Dorothy Love Coates, who also composed many of their best-known selections, their music transcended its spiritual foundations to... [+] Read More

Acknowledged as a prime influence by no less than Little Richard, the Birmingham, Alabama-based Original Gospel Harmonettes was among the greatest and most successful female gospel groups of the 1950s; led by soloist Dorothy Love Coates, who also composed many of their best-known selections, their music transcended its spiritual foundations to appeal to a secular world on the threshold of the civil rights era. Formed during the mid-'40s, the group -- initially dubbed the Harmoneers, later modified to the Lee Harmoneers in the wake of a tour with soprano Georgia Lee Stafford -- originally comprised pianist Evelyn Starks Hardy, contralto Odessa Edwards, soprano Vera Kalb, alto Willie Mae Newberry Garth and mezzo-soprano Mildred Miller Howard, their first lead vocalist. Coates enlisted in 1947, but left soon after to care for her infant daughter, who was born with cerebral palsy and epilepsy.

Rechristened the Gospel Harmonettes by 1950, they soon appeared on Arthur Godfrey's Talent Scouts; their success on the program resulted in a contract with RCA Victor, and prompted the addition of the word "Original" to their name. Their early recordings went nowhere, however, and they signed to Specialty in 1951, at which time Coates rejoined their ranks. The Original Gospel Harmonettes' first Specialty releases, "I'm Sealed" and "Get Away Jordan," quickly shot them to popularity; a pure dynamo in seemingly constant motion, the galvanic Coates cut a sharp contrast to her urbane accompanists, and her songs -- often updates of traditional numbers tailored to speak to contemporary issues -- struck a powerful chord among listeners. Among Coates' compositions, many -- among them "That's Enough" (covered by artists ranging from Ray Charles to Johnny Cash), "He's Right on Time," "You Must Be Born Again," "I Won't Let Go" and "You've Been Good to Me" -- clearly qualify as standards.

Hardy retired from the Original Gospel Harmonettes' tours in 1953, although she continued recording with the group; on the road, she was replaced by Detroit pianist Herbert "Pee Wee" Pickard, later an accompanist for James Cleveland. Despite the group's enormous popularity, by the end of the decade both Edwards and Kolb had retired as well, and from 1959 to 1961 the Harmonettes were inactive; during that time, Coates was reborn as a civil rights activist, often working with Martin Luther King. She re-formed the Harmonettes in 1961, with her sister Lillian McGriff and soprano Cleo Edwards joining alongside original members Howard and Garth. Their comeback record, "Come On in My House," was a hit, and although they never quite recaptured the prominence of their golden era the group continued touring until 1971. In later years, Coates frequently toured with McGriff and her daughter, Carletta Coates; she also performed at a number of jazz festivals, and even appeared in the 1990 film The Long Walk Home. ~ Jason Ankeny, All Music Guide [-] Hide

General critical consensus holds Mahalia Jackson as the greatest gospel singer ever to live; a major crossover success whose popularity extended across racial divides, she was gospel's first superstar, and even decades after her death remains for many listeners a defining symbol of the music's transcendent power. With her singularly expressive... [+] Read More

General critical consensus holds Mahalia Jackson as the greatest gospel singer ever to live; a major crossover success whose popularity extended across racial divides, she was gospel's first superstar, and even decades after her death remains for many listeners a defining symbol of the music's transcendent power. With her singularly expressive contralto, Jackson continues to inspire the generations of vocalists which follow in her wake; among the first spiritual performers to introduce elements of blues into her music, she infused gospel with a sensuality and freedom it had never before experienced, and her artistry rewrote the rules forever. Born in one of the poorest sections of New Orleans on October 16, 1911, Jackson made her debut in the children's choir of the Plymouth Rock Baptist Church at the age of four, and within a few years was a prominent member of the Mt. Moriah Baptist's junior choir. Raised next door to a sanctified church, she was heavily influenced by their brand of gospel, with its reliance on drums and percussion over piano; another major inspiration was the blues of Bessie Smith and Ma Rainey.

By the time she reached her mid-teens, then, Jackson's unique vocal style was fully formed, combining the full-throated tones and propulsive rhythms of the sanctified church and the deep expressiveness of the blues with the note-bending phrasing of her Baptist upbringing. After quitting school during the eighth grade, Jackson relocated to Chicago in 1927, where she worked as a maid and laundress; within months of her arrival, she was singing leads with the choir at the Greater Salem Baptist Church, where she joined the three sons of her pastor in their group the Johnson Brothers. Although other small choir groups had cut records in the past, the Johnson Brothers might have been the first professional gospel unit ever; the first organized group to play the Chicago church circuit, they even produced a series of self-written musical dramas in which Jackson assumed the lead role. Her provocative performing style -- influenced by the Southern sanctified style of keeping time with the body and distinguished by jerks and steps for physical emphasis -- enraged many of the more conservative Northern preachers, but few could deny her fierce talent.

After the members of the Johnson Brothers went their separate ways during the mid-'30s, Jackson began her solo career accompanied by pianist Evelyn Gay, who herself later went on to major fame as one half of gospel's Gay Sisters. During the week, Jackson also went to beauty school, and soon opened her own salon. As her reputation as a singer grew throughout the Midwest, in 1937 she made her first recordings for Decca, becoming the first gospel artist signed to the label; curiously, none of the tracks she recorded during her May 21 session was by Thomas A. Dorsey, the legendary composer for whom she began working as a song demonstrator around that same time. (He even wrote "Peace in the Valley" with her in mind.) While her Decca single "God's Gonna Separate the Wheat from the Tares" sold only modestly, prompting a lengthy studio hiatus, Jackson's career continued on the upswing -- she soon began performing live in cities as far away as Buffalo, New Orleans and Birmingham, becoming famous in churches throughout the country for not only her inimitable voice but also her flirtatious stage presence and spiritual intensity.

Jackson did not record again until 1946, signing with Apollo Records; although her relations with the label were often strained, the work she produced during her eight-year stay on their roster was frequently brilliant. While her first Apollo recordings, including "I Want to Rest" and "He Knows My Heart," fared poorly -- so much so, in fact, that the label almost dropped her -- producer Art Freeman insisted Jackson record W. Herbert Brewster's "Move on Up a Little Higher"; released in early 1948, the single became the best-selling gospel record of all time, selling in such great quantities that stores could not even meet the demand. Virtually overnight, Jackson became a superstar; beginning in 1950, she became a regular guest on journalist Studs Terkel's Chicago television series, and among white intellectuals and jazz critics, she acquired a major cult following based in large part on her eerie similarities to Bessie Smith. In 1952, her recording of "I Can Put My Trust in Jesus" even won a prize from the French Academy, resulting in a successful tour of Europe -- her rendition of "Silent Night" even became one of the all-time best-selling records in Norway's history.

Jackson's success soon reached such dramatic proportions that in 1954 she began hosting her own weekly radio series on CBS, the first program of its kind to broadcast the pure, sanctified gospel style over national airwaves. The show surrounded her with a supporting cast which included not only pianist Mildred Falls and organist Ralph Jones, but also a white quartet led by musical director Jack Halloran; although her performances with Halloran's group moved Jackson far away from traditional gospel towards an odd hybrid which crossed the line into barbershop quartet singing, they proved extremely popular with white audiences, and her transformation into a true crossover star was complete. Also in 1954 she signed to Columbia, scoring a Top 40 hit with the single "Rusty Old Halo," and two years later made her debut on The Ed Sullivan Show. However, with Jackson's success came the inevitable backlash -- purists decried her music's turn towards more pop-friendly production, and as her fame soared, so did her asking price, so much so that by the late '50s virtually no black churches could afford to pay her performance fee.

A triumphant appearance at the 1958 Newport Jazz Festival solidified Jackson's standing among critics, but her records continued moving her further away from her core audience -- when an LP with Percy Faith became a smash, Columbia insisted on more recordings with orchestras and choirs; she even cut a rendition of "Guardian Angels" backed by comic Harpo Marx. In 1959, she appeared in the film Imitation of Life, and two years later sang at John F. Kennedy's Presidential inauguration. During the 1960s, Jackson was also a confidant and supporter of Dr. Martin Luther King, and at his funeral sang his last request, "Precious Lord"; throughout the decade she was a force in the civil rights movement, but after 1968, with King and the brothers Kennedy all assassinated, she retired from the political front. At much the same time Jackson went through a messy and very public divorce, prompting a series of heart attacks and the rapid loss of over a hundred pounds; in her last years, however, she recaptured much of her former glory, concluding her career with a farewell concert in Germany in 1971. She died January 27, 1972. ~ Jason Ankeny, All Music Guide [-] Hide

Contemporary gospel's preeminent group, the Mighty Clouds of Joy carried the torch for the traditional quartet vocal style throughout an era dominated by solo acts and choirs; pioneering a distinctively funky sound which over time gained grudging acceptance even among purists, they pushed spiritual music in new and unexpected directions, even... [+] Read More

Contemporary gospel's preeminent group, the Mighty Clouds of Joy carried the torch for the traditional quartet vocal style throughout an era dominated by solo acts and choirs; pioneering a distinctively funky sound which over time gained grudging acceptance even among purists, they pushed spiritual music in new and unexpected directions, even scoring a major disco hit. The Mighty Clouds of Joy were formed in Los Angeles during the mid-'50s by schoolmates Joe Ligon and Johnny Martin; while still in their teens, the original group -- which also included brothers Ermant and Elmo Franklin, Leon Polk and Richard Wallace -- made their recorded debut in 1960 with "Steal Away to Jesus," cut for the Peacock label. Their debut LP Family Circle arrived a year later. In the years that followed, the Mighty Clouds earned a reputation among gospel's greatest showmen; one of the first groups to incorporate choreographed moves into their act, their nimble footwork and bright, color-coordinated outfits earned them the sobriquet "The Temptations of Gospel." More importantly, they were the first group to add bass, drums and keyboards to the standard quartet accompaniment of solo guitar, resulting in a sound which horrified traditionalists but appealed to younger listeners -- so much so, in fact, that the Mighty Clouds became the first gospel act ever to appear on television's Soul Train, where they performed their disco smash "Mighty High." Their crossover success continued with opening slots for secular pop stars including Marvin Gaye, the Rolling Stones and Paul Simon, whom the group backed during a month-long stint at Madison Square Garden. While lineup changes plagued the Mighty Clouds throughout their career, they remained active through the 1990s; in addition to co-founders Ligon and Wallace, their latter-day incarnation also included Michael McCowin, Wilbert Williams, Johnny Valentine and Ron Staples. ~ 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

More joy and live church feeling from the man who revolutionized choral singing. ~ Opal Louis Nations, All Music Guide

More joy and live church feeling from the man who revolutionized choral singing. ~ Opal Louis Nations, All Music Guide [-] Hide

Specialty's Soul Stirrers is a wonderful, definitive collection that contains the best moments from the seminal gospel group, including material recorded with all four lead vocalists -- Sam Cooke, Johnnie Taylor, R.H. Harris and Paul Foster. ~ Leo Stanley, All Music Guide

Specialty's Soul Stirrers is a wonderful, definitive collection that contains the best moments from the seminal gospel group, including material recorded with all four lead vocalists -- Sam Cooke, Johnnie Taylor, R.H. Harris and Paul Foster. ~ Leo Stanley, All Music Guide [-] Hide

My Soul Looks Back: The Genius of Marion Williams 1962-1992 is an outstanding 25-track portrait of the legendary gospel singer in all of her glory. Listening to early sides like "Packin' Up" and Surely God Is Able," it's easy to understand her influence on the likes of Little Richard and Aretha Franklin. These powerful songs are primal blasts of... [+] Read More

My Soul Looks Back: The Genius of Marion Williams 1962-1992 is an outstanding 25-track portrait of the legendary gospel singer in all of her glory. Listening to early sides like "Packin' Up" and Surely God Is Able," it's easy to understand her influence on the likes of Little Richard and Aretha Franklin. These powerful songs are primal blasts of energy with all the cathartic transcendence more commonly attributed to rock & roll. Closer to R&B than any of her contemporaries, Williams also flirts playfully with the blues on cuts like "Dead Cat on the Line" and "It's Your Time Now But My Time After Awhile," and even dabbles in country on a cover of Roy Acuff's "The Great Speckled Bird." Whatever the setting, however, her voice is a marvel of improvisatory brilliance, her soprano never less than devastating. This is gospel at its finest. ~ Jason Ankeny, All Music Guide [-] Hide

Essential early sides by this seminal group. ~ Opal Louis Nations, All Music Guide

Essential early sides by this seminal group. ~ Opal Louis Nations, All Music Guide [-] 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