Motown asserted the idea that Black [church-rooted] music was “the music of young America”. Because they were right, they were very successful.
You won’t read about Motown and the churches and the labor movement in titles like Black Detroit and the Rise of the United Auto Workers. But you will in this series.
One of the great inheritors of Millerite theology and artistic training has passed. #RIPPrince
Mobility is a key concept.
While doing some research into James Cleveland protegés and GMWA alums, I ran across this clip of a Keith Pringle song that made me wonder a certain thing.
Gospel artists are a multigenerational community of disruptive innovation. Gospel music is designed to invite you in.
You’re Never In Danger of Falling Asleep With An Elbernita Clark Composition.
Who would have thought Grace Jones needs anything?
Time to get conceptual. And soteriological.
Oh, yes. There is MUCH more to say about Sylvester James.
Though I can not be sure of the background of the violinist, who is, incredibly, putting his instrument through a wah-wah pedal.
Gloria Jones used to go out with Marc Bolan of glam supergroup, T. Rex.
“The Blood” is a Gospel standard, here in one of its earliest versions.
Though this Gospel Disco Obscurities series covers 1970s-80s era music, my book ends in 1970. That’s in part because in 1969, Let Us Go Into the House of the Lord by Edwin Hawkins and the Northern California State Youth Choir changed the game.
You can still find vinyl of Dr. Mattie Moss Clark’s influential recordings with the Choir of Southwestern Michigan C.O.G.I.C. in the used bins.
“Perfect Peace” by Andrae Crouch and the Disciples blurs [The] Biblical literalist Gospel into a perfect Disco composition.
Gospel Disco Obscurities Friday is a series derived from some Facebook posts to friend, colleague, and public theologian Marvin K. White. It’s all about the networks, and the circuits.