Gospel
Detroit has produced some of the most famous gospel singers in past decades. In the 1940s, Oliver Green formed The Detroiters, who became one of the most popular Gospel groups of the their era. In the 1950s, Laura Lee and a young Della Reese began their long and distinguished careers, coming out of the Meditations Singers, indisputably the premier Detroit-based, female gospel group of that era. Theirs was the first Motor City act to introduce instrumental backing to traditional a cappella vocals. Della joined the ranks of the gospel elite in Detroit, while Mattie Moss Clark is believed to be the first to introduce three part harmony into gospel choral music.
In the 1960s, the Reverend CL Franklin found success with his recorded sermons on Chess Record's gospel label and with an album of spirituals recorded at his New Bethel Baptist Church included the debut of his young daughter, grammy award winner Aretha Franklin.
In the 1980s, the Winans dynasty produced Grammy winners Cece and BeBe Winans. Other notable gospel acts include Bill Moss & The Celestials—The Brother of Mattie Moss Clark, Father of J Moss and Bill Moss, Jr. & Uncle of The Clark Sisters, J Moss, Bill Moss, Jr., The Clark Sisters, Rance Allen Group, Vanessa Bell Armstrong, Thomas Whitfield, Byron Cage and Fred Hammond.
Read more about this topic: Music Of Detroit
Famous quotes containing the word gospel:
“A good man was ther of religioun,
And was a poure persoun of a toun,
But riche he was of hooly thoght and werk.
He was also a lerned man, a clerk,
That Cristes gospel trewely wolde preche.
His parisshens devoutly wolde he teche.”
—Geoffrey Chaucer (1340?–1400)
“Resorts advertised for waitresses, specifying that they “must appear in short clothes or no engagement.” Below a Gospel Guide column headed, “Where our Local Divines Will Hang Out Tomorrow,” was an account of spirited gun play at the Bon Ton. In Jeff Winney’s California Concert Hall, patrons “bucked the tiger” under the watchful eye of Kitty Crawhurst, popular “lady” gambler.”
—Administration in the State of Colo, U.S. public relief program (1935-1943)
“The drama’s altar isn’t on the stage: it is candle-sticked and flowered in the box office. There is the gold, though there be no frankincense or myrrh; and the gospel for the day always The Play will Run for a Year. The Dove of Inspiration, of the desire for inspiration, has flown away from it; and on it’s roof, now, the commonplace crow caws candidly.”
—Sean O’Casey (1884–1964)