Podcasts about black gospel music

We're relaunching Let It Roll by reposting every episode in chronological order by subject matter. In this episode hosts Nate Wilcox and Garrett Cash dive into the roots of African-American spirituals and Gospel's deep roots in African musical practice. Based on Robert Darden's "People Get Ready!: A New History of Black Gospel Music." Buy the book and support the show. This episode originally aired in 2022. GO TO THE LET IT ROLL SUBSTACK TO HEAR THE FULL EPISODE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -- The final 15 minutes of this episode are exclusively for paying subscribers to the Let It Roll Substack. Also subscribe to the LET IT ROLL EXTRA feed on Apple, Spotify or your preferred podcast service to access the full episodes via your preferred podcast outlet. We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please consider becoming a paid subscriber to support the show. Thanks! Email ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letitrollpodcast@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Twitter.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Let It Roll is proud to be part of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pantheon Podcast⁠s⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

The otherwise unknown Sons of Faith's recording “Winding Chain” is a superb example of Deep South soulful gospel, a mournful, heartfelt two-minute gem.

Keith Pringle and the Pentecostal Community Choir's version of Jeffrey LaValley's “No Greater Love” was an instant classic.

Bill Spivey and the Sons of Truth's vibrant, up tempo “The Non-Violent Man” was a tribute to the late Dr. Martin Luther King Jr.

The otherwise unknown Pinkard Singers released a single – but highly engaging -- 45 for the short-lived RaptureA label in the early 1970s, “Let Freedom Ring.”

Ethel Waters was a national treasure during her lifetime and increasingly turned to religious music later in life, including this sprightly version of the old folk spiritual, “I am a Pilgrim.”

The Rev. Kenneth Glover turns the old spiritual “Roll Jordan, Roll” into an amped up “sending song” of the highest order.

Bariton Eddie Robinson's “Reflections of the Man Inside” also features top Motown producers, arrangers and musicians.

Some of New York's finest musicians accompany the J.C. White Singers on the funky, jazzy gospel hit, “I'm Saved.”

The Rev. June Cheeks was one of the greatest shouters and testifiers in the history of gospel music – as his rendition of “Mountain Railroad” will surely prove!

The legendary guitarist the Rev. Gary Davis recorded 14 stunning gospel tracks in New York City in 1935, including “I Belong to the Band, Hallelujah.”

The Supreme Voices never quite broke through during the Golden Age of Gospel Music, but with great tracks like “I Made a Vow,” it's clear they probably should have been stars.

The Sweet Brothers of Vero Beach, Florida, deserved wider recognition for their soulful, slow burn gospel songs, including “I'll Be Welcomed.”

The Cotton Brothers of Macon, Georgia, excelled at a particularly exciting brand of gospel soul, including the rave-up, “Alright, Alright.”

The Rev. J.R. Lockley and His Original Gospel Clefs, featuring big-voiced Ann Moncrief, deliver a killer version of the spiritual, “One of These Mornings.”

New York City's Echoes of Life turn Thomas Dorsey's beloved “You've Got to Live the Life” into a rough and raspy old school gospel shout.

In 1959, the Abbysinnia Baptist Church Young People's Choir recorded a cheerfully up tempo version of the old spiritual “You've Got to Move” for the famed Gotham Record label.

The Faithful Wonders' funky “Ol' John (Behold Thy Mother),” first released in 1968, has been re-released multiple times on various gospel and R&B anthologies in recent years.

The Kansas East Sunshine Band Children's Choir's Young & Gifted Recorded Live! LP features a killer vocal by 9-year-old Crystal Morris on the funky “Is There Anything Too Hard for God?”

From the Zion Sings LP by the venerable Zion Missionary Baptist Church of East Chicago, Indiana, comes this moving and reverent version of the spiritual, “The Old Ship of Zion.”

For my 500th episode of “Shout! Black Gospel Music Moments” I'm sharing the first gospel 45 I ever bought, “People Get Ready” by the Chambers Brothers.

The rare 45 “Oh, Mother Tonight” by the otherwise unknown Gospel Twins is a uniquely primitive addition to Baylor's Black Gospel Archives.

Evangelist Jessie Mae Renfro was one of the last great traditional gospel voices, as her song “Oh, Have You” so beautifully displays.

The Jordan Jubilee's slow and brooding “No Segregation in Heaven” was a pretty grave statement to make in the early 1970s!

Fort Worth's Galatian Baptist Church tears into the old camp-meeting song, “Down by the Riverside.”

That's the powerful voice of Maggie Bell on the Rev. Milton Brunson and the Thompson Community Choir's version of “Pray on My Child.”

The otherwise unknown Evening Doves deliver a spirited, rollicking version of the traditional gospel song “No Hiding Place."

The unknown Silver Bells of Macon, Georgia's “No Friend Like the Lord” is a masterclass in a cappella doo-wop styled gospel singing.

The Brooklyn All Stars were New York's best-known gospel group, singing hits like the slow and stately “No Cross, No Crown.”

The Caravans ruled the Gospel Highway in the 1950s and ‘60s with songs like the upbeat “No Coward Soldiers.”

The music of Daddy Grace's United House of Prayer for All People is an ecstatic rave-up, fueled by a dozen honking trombones!

The Williams Family and the legendary Canton Spirituals combine for one of the funkiest Christmas songs of all time, “Down Home in Mississippi".

The Rev. H.B. Crum and His Mighty Golden Keys, “I Can Feel Him” is an exciting example of gospel's transition from traditional doo-wop harmonies to a more soulful sound.

The Rev. Johnny “The Hurricane” Jones preached and sang at Second Mount Olive Baptist Church in Atlanta for nearly 60 years!

The Willie Webb Singers showcased Willie's amazing keyboards, vocals and songwriting.

Mahalia Jackson's majestic, magnificent version of “City Called Heaven” is one of the great powerhouse vocals in gospel music history.

The powerhouse vocals of Christine Clark dominate Evangelist Eddie Williams and the Crusader's arrangement of “Abraham, Martin & John.”

Sister Jessie Mae Renfro excelled at the kind of slow, bluesy gospel surge song, like this one – “He's So Wonderful.”

The Famous Blue Jay Singers novelty release “Clanka Lanka” celebrates one of the most famous phrases in gospel quartet singing history.

The Hampton Institute Quartet's rendition of the beloved cam meeting singalong, “Old Time Religion,” dates back to 1939.

The Congregational Church Choir's scratchy “I Want to be Ready” is a rare and wonderful example of a jubilee song from 1927.

The Exciting Incredibles live up to their name with the deep Southern soul gospel groove of “I Want to Be Loved.”

The Jordan Singers' “I Want to be Free” has the same rollicking beat as some of the best freedom songs by the Staple Singers.

Straight Street Holiness Church's raw recording of “I Want the Lord to Do Something for Me” has a joyful energy all its own.

Chicago's Kelly Brothers sound like they're from Mississippi in the churchy, soulful “(I Was Way Down Yonder) I Couldn't Hear Nobody Pray.”

The Rev. James Cleveland leads the Salem Inspirational Choir in a stirring version of his hit song, “I Don't Feel Noways Tired.”

The Back Home Choir specialized in choral arrangements of the old spirituals, including this upbeat rendition of “King Jesus is All.”

The multi-talented Myrna Summers can sing anything – but she's rarely sounded better than on this haunting spiritual, “Stand By Me.”

With a B3 organ, a prophetic imagination, and a heart broken wide open by grace, gospel music legend Andraé Crouch (1942–2015) left an indelible mark on modern Christian worship music. In this episode, Stephen Newby and Robert Darden offer a sweeping yet intimate exploration of his life, spiritual vision, and genre-defining genius. Together with Mark Labberton, they discuss their new biography, Soon and Very Soon: The Transformative Music and Ministry of Andraé Crouch. Through laughter, lament, and lyrical memory, Newby and Darden—both scholars at Baylor University and coauthors of the first serious biography of Crouch—share stories of discovering his music, the theological and cultural forces that shaped it, and why his legacy matters now more than ever. They offer insights into modern musical history, spiritual reflection, and cultural analysis, inviting us into the soul of a man who helped bring modern gospel into being. Episode Highlights “Musical genius is where observation, curiosity, imagination, and humility are baked in the oven.” “He was always tracking what was going on in the room and in his heart. He understood the cues, clues, and codes of what God was doing.” “Andre felt it was important that the music was just as inspired as the lyrics. It was total praise.” “'Soon and Very Soon' is an ancient future song—we have to keep singing it, especially now.” “Andraé burned out a lot of musicians—but all of them adore him to this day.” Helpful Links and Resources Soon and Very Soon: The Transformative Music and Ministry of Andraé Crouch by Stephen Newby and Robert Darden (Penn State University Press) Black Gospel Music Preservation Project (Baylor University) “Jesus is the Answer,” by Andraé Crouch “Through It All,” by Andraé Crouch “Soon and Very Soon” **by Andraé Crouch People Get Ready!: A New History of Black Gospel Music by Robert Darden About Stephen Newby Stephen Michael Newby is a composer, conductor, and scholar. He serves as the Lev H. Prichard III Endowed Chair in the Study of Black Worship at Baylor University and is a professor of music in the Baylor School of Music. A widely recognized expert on gospel, jazz, and Black sacred music, he is also affiliated with the Black Gospel Music Preservation Project as an ambassador and collaborator. He is co-author of Soon and Very Soon: The Transformative Music and Ministry of Andraé Crouch. About Robert Darden Robert F. Darden is Emeritus Professor of Journalism at Baylor University and founder of the Black Gospel Music Preservation Project. A former gospel music editor at Billboard magazine, Darden is the author of numerous books on gospel music history, including People Get Ready: A New History of Black Gospel Music and Nothing But Love in God's Water. He is co-author of Soon and Very Soon: The Transformative Music and Ministry of Andraé Crouch. Show Notes Andraé Crouch called the “father of contemporary modern gospel” for his groundbreaking influence on the genre Guest Stephen Newby holds the Lev H. Pritchard III Chair in Black Worship and Music at Baylor University Guest Robert Darden is emeritus professor of journalism at Baylor and founder of the Black Gospel Music Preservation Project Labberton celebrates the book's narrative, musical, and sociocultural scope Crouch grew up in a Pentecostal context that encouraged musical exploration and spiritual improvisation Gospel rooted in KoGIC (Church of God in Christ) tradition, blending Beale Street sounds with evangelical fervor Darden describes Crouch's early music as “jazz, pop... but wait, it is gospel—they're singing about Jesus” Crouch and his sister Sandra composed “Jesus Is the Answer,” considered the first modern praise and worship song The book includes more than 200 interviews from gospel musicians, friends, and collaborators Crouch read the room and followed the Spirit—every performance was improvisational, responsive, alive “Through It All” composed after the heartbreak of a failed relationship; the grief birthed one of his most lasting songs Gospel music as lament and praise: “We hear the pain, we hear the resolve, we hear the lament turning to praise” Crouch's “Take Me Back” begins with Billy Preston on B3 organ—“He hasn't forgotten the church,” says Newby Earth, Wind & Fire, Motown, and classical influences shaped Crouch's orchestration and arrangements Darden: “He wanted the music to sound as good as the words. It was obsessive—but it was for God.” Andre's collaboration with producer/drummer Bill Maxwell led to a string of gospel albums with unmatched quality “We are going to see the King”: the timeless hope of “Soon and Very Soon” rooted in the Black spiritual tradition Crouch's music was not only groundbreaking—it was pastoral, prophetic, and profoundly personal Evangelistic to his dying breath, Crouch witnessed to hospital staff and janitors alike The book's subtitle “Transformative Music and Ministry” is more than academic—it's biographical theology Newby and Darden's friendship mirrors Crouch and Maxwell's cross-cultural collaboration Soon and Very Soon offers readers a chance to read with phone in hand—listening and learning simultaneously “Jesus is the answer” remains a musical and theological call across generations Production Credits Conversing is produced and distributed in partnership with Comment magazine and Fuller Seminary.

When Darren Hamilton began university, he was shocked to find that there were no Black music courses and Black music professors. He grew up singing spirituals every Sunday in church. Now at the University of Toronto, Hamilton teaches Gospel Choir, U of T's first credit course in Black gospel music. Students of all backgrounds and ages come to learn and sing songs rooted in faith, freedom and joy. He says he started the course because he wanted Black music to be valued in music education, and he wanted Black students to have a music classwhere they "feel they belong."