Shout! Black Gospel Music Moments

Sundays 8:35 am; Mondays at 4:48am. 6:48am, 8:48am and 5:48pm.
  • Hosted by Robert Darden

Author and Baylor University professor Robert Darden tells stories -- and plays recordings -- from the Baylor University Libraries' Black Gospel Music Restoration Project in an on-going weekly series of two-minute segments. Shout! Black Gospel Music Moments explores the distinctly African-American sound of the "Golden Age of Gospel" (1945-1975). The series celebrates this fertile musical period in American history, presenting cultural snapshots that reveal the depth of a people, their community, and the influence they have had on the rest of American music.

With "Any Stars in My Crown," Jeanette Harris proved that jubilee could sound as emotional as "hard" gospel. Jeanette's rough and raspy voice was the ideal vehicle to convey the urgency and conviction of the very best of gospel music.


Clara Hudmon, better known as the Georgia Peach, was a master of the old-school singing style known as jubilee, which combined a cappella singing with the lyrics often taken directly from the spirituals.


The Jackson Southernaires have released at least 30 stellar gospel albums and had a number of hits, including the seven-minute sermon and song "Too Late," performed by the late, great Willie Banks. 

R. H. Harris, co-founder of the Soul Stirrers in 1935, was one of the legends of gospel music - and all of that history can be heard in one of his recordings with the Christland Singers in "I'm Willing to Run."


Blind Willie Johnson provides a link between the spirituals and modern gospel. This brilliant steel-guitar player was a street musician in Texas in the 1930s and '40s and only recorded two dozen incredibly rare 78s and yet he is considered one of the greatese of all American musicians. 

On "Standing Here Wondering Which Way to Go," Marion Williams is accompanied by the best studio musicians Atlantic Records has to offer - and the resulting 45 is one of the classics of gospel music. 


The popular Skyways, led by W.C. Johnson, toured heavily in the 1960s and '70s as one of the vanguard artists of the new contemporarary gospel sound. 


With mighty voiced Liz Dargan as the lead vocalist, the Gospelettes released a number of memorable singles in the early '70s, including a fiery version of "Lord, You've Been Good to Me."

The Mighty Superiors, known from only a couple of obscure 45s on the Song Bird label, prove that in gospel music an artist doesn't have to be famous to be good. 


With the Gospel Keynotes, Willie Neal Johnson released a string of memorable, soulful LPs for Nashboro and Malaco beginning in the late '70s. 

With the Pentecostal Mass Choir of Chicago, Charles Watkins was a gospel music innovator, bringing new textures, rhythms and instrumentations to gospel music. 


This nifty self-produced live LP features several great gospel songs on the A side and the powerful, expressive sermon The Ball Game of Life on the B side. 

Chicago's Kelly Brothers bounced around gospel music for a while, cutting great songs,  but never catching a break before moving to King Records in 1963 to record the R&B hit "It Won't Be This Way Always" as the Kingpins  - the year before thr King label went out of business. 

Legendary gospel producer,  Rev. Lawrence C Roberts, produced most of the Savoy/ Gospel label's hits during the 1950s and '60s - usually featuring his own backup singers, the multi-talented Lawrence Roberts Singers. 

Bill Moss, son of the legendary Mattie Moss Clark, had a long and successful career in gospel music recording with his wife Essie as Bill Moss and the Celestials. Bill and Essie were also the parents of two current gospel stars, J Moss and Bill Moss, Jr., who have inherited their parent's singing and song-writing gifts. 

Pages