Daniel (Dan) Hood, and the Clements brothers, Rolly and Donald are senior citizens living a life of leisure. Now retired, they often reminisce about the trials and tribulations that confronted their Doo-Wop singing group, The Sophomores while trying to achieve stardom more than 44 years ago. Suddenly, they are thrust back into the limelight when they're asked to perform at Boston Symphony Hall during an awards ceremony. However, they're faced with a couple of very serious problems. First and foremost, not only have they been out of contact with each other for a long time, they haven't sung together since 1972 when their voices were strong and vibrant. Secondly, Dan is shocked to learn that their lead singer, Major "Eddie" Brooks has died and he doubts if anyone can replace him. The Sophomores, and me is the story about how these three, aging, life-long friends, with the help of another famous singer, muster up enough strength, determination and courage to overcome these problems. One member of the Sophomores in particular, finds an answer to many personal questions that have troubled him throughout his life. Ironically, a series of unexpected events also takes place that help to bring closure to someone he thought he'd never see again.

1884. From the Preface: This latest addition to the Spiritual Song series will be found, as its name implies, especially rich in hymns of praise to Christ our Lord. It is designed to lead the taste of congregations and choirs towards a higher class of lyrics and music than has hitherto found acceptance in the churches. To this end, a large selection from the great wealth of newer hymns and modern American, English and German choral music has been included with the best of the old and familiar hymns and standard tunes in common use.

This book takes a look at the innovations of contemporary performers of modern gospel music and their roots in the African American Christian church.In ""When the Church Becomes Your Party"", author Deborah Smith Pollard assesses contemporary gospel music as the genre enters the twenty-first century. She argues that although the flashy clothing, informal language, and elaborate stage presentation found in some of the newest gospel music might not be what some worshippers expect, this new aesthetic rests on the same Christian principles as more traditional forms and actually extends its message to a wider and younger audience.In this volume Pollard looks at contemporary gospel music with the insider's perspective she has acquired as a regular participant in praise and worship services in the Detroit area and through her work as a successful gospel concert producer (""The Motor City Praisefest"" and the ""McDonald's GospelFest"") and host of a popular Sunday morning gospel show on Detroit's FM 98 ""WJLB"".Among the topics she considers in ""When the Church Becomes Your Party"" are praise and worship music, gospel musical stage plays, the changing dress code of gospel performance, women gospel announcers, and holy hip hop. She draws on Detroit's thriving gospel scene as well as her knowledge of the national gospel music industry to identify important trends in each area and trace the cultural transformations that brought them about. In addition, Pollard includes interviews with contemporary gospel artists, allowing them to explain why they rap, make particular choices in attire, or participate in gospel radio, praise and worship, or gospel musical plays.While other studies address some of the subtopics included in this volume, ""When the Church Becomes Your Party"" offers a comprehensive picture of the history and future of contemporary gospel music. Scholars of music and African American cultural studies will enjoy this intriguing volume.

This book is a definitive biography of James Brown, an extraordinary and controversial superstar, that encompasses his entire life until his death on Christmas Day 2006. For decades, James Brown dominated the changing face of post-war popular black music. Others have been as inspirational in the short term and several of his successors have been bigger pop stars, but none has matched Brown's independent authority, sustained influence or commercial longevity. But while generations danced to the pulse of James Brown, at the end of the 1980s the man himself was back in a Southern US jail, a mile from there he was incarcerated in his teens. Between two internments, is the compelling story of a man who, by reaching from his roots and striving determindly for himself, came to represent in music and personal power, the post-war emancipation of black America. It is illustrated with rare photographs and includes a comprehensive discography.

To fans of sassy and savvy urban music, the name Rick James will forever be associated with the mainstream emergence of funk--that bottom-heavy blend of rock and soul that sparked a multiracial musical revolution in the 1970s and 1980s and has since influenced everything from rap to raves, punk to progressive rock. Along with the fame, the Grammy Award, and superstardom came drug abuse and even felony convictions, all of which are chronicled in this gripping, posthumous tell-all of the funk revolution.

How to Play Black Gospel for Beginners Book 2 is a supplement to: How to Play Black Gospel for Beginners. This book has over 70 Multi-Level Arrangements!! Songs are written out exactly in the Gospel Piano Style. This book is for the Beginning to Intermediate student. Makes learning fun for all ages!

1884. From the Preface: This latest addition to the Spiritual Song series will be found, as its name implies, especially rich in hymns of praise to Christ our Lord. It is designed to lead the taste of congregations and choirs towards a higher class of lyrics and music than has hitherto found acceptance in the churches. To this end, a large selection from the great wealth of newer hymns and modern American, English and German choral music has been included with the best of the old and familiar hymns and standard tunes in common use.

You can learn to play Black Gospel and learn how to play the piano at the same time! The quick and practical approach to learning how to read music. This book makes learning to play the piano fun for all ages!!

1924. Burton writes in his Foreword: The Hymns and Songs of this book are some of the interludes of a busy life. Most of them have appeared in the columns of the religious press, many of them have been set to music, and some have found place in the Hymnals of Churches in England, America and Canada. They are not sent forth in this collected form that they may have a wider range of influence and service, and that their life may be something more than an ephemeral one. It is only a modest wreath of song, but such as it is I lay it reverently at the feet of Him who gives us all our songs. See other titles by this author available from Kessinger Publishing.

6 For being a just man, he was not willing to expose her, nor defame her by the suspicion of being a harlot, since he was a pious man.

1904. We have endeavored to keep within the compass of the average male voice, and to furnish a collection of songs suited to all occasions of Church work and social gatherings. Believing that the selections here presented are devotional, tuneful and spiritual, and that the Home, Patriotic and Special department will supply a demand long neglected, and that the book will be found worthy of attention and extended use. Some of the songs contained in this volume include: A Call to Work; Battle Song; Come, Sinner, Come; God Be With You; Holy, Holy, Holy; I'll Bear the Cross; The Last Rose of Summer; My Prayer; Nearer, My God to Thee; Rouse Ye, Christian Soldiers; Tell It to all; Walk in the Light; You Need Jesus; and many more.

The Gospel Of Nicodemus, Formerly Called The Acts Of Pontius Pilate.

The First Epistle Of Clement To The Corinthians.

The Epistles Of Jesus Christ And Abgarus King Of Edessa.

And now have they added lewdness to their other sins, and the pollutions of their naughtiness: thus have they filled up the measure of their iniquities. But do thou upbraid thy sons with all these words; and thy wife, who shall be as thy sister; and let her learn to refrain her tongue, with which she calumniates.

The First Gospel Of The Infancy Of Jesus Christ.

The Epistle Of Ignatius To The Ephesians.

Guide van Rijn presents a fascinating and exhaustive account of the gospel and blues music of the immediate postwar period, shedding much light on the civil rights situation of the time and the experience of segregation as well as events such as the Atom Bomb, the Cold War, Korea and of course the Republican victory in 1956. He concentrates on songs that comment on contemporary political events and issues during this crucial time in the shaping of black consciousness in America. In doing so, he uncovers a hidden black history on the eve of the emergence of the civil rights movement--a deep insight into the lives and opinions of people who had few other outlets of expression. Also available, from the author's own website, is a CD containing recordings of the songs discussed in the text, such as Jesus Hits Like the Atom Bomb, I'm a Democrat Man, and The Alabama Bus.

Black gospel music grew from obscure nineteenth-century beginnings to become the leading style of sacred music in black American communities after World War II. Jerma A. Jackson traces the music's unique history, profiling the careers of several singers--particularly Sister Rosetta Tharpe--and demonstrating the important role women played in popularizing gospel.

Female gospel singers initially developed their musical abilities in churches where gospel prevailed as a mode of worship. Few, however, stayed exclusively in the religious realm. As recordings and sheet music pushed gospel into the commercial arena, gospel began to develop a life beyond the church, spreading first among a broad spectrum of African Americans and then to white middle-class audiences. Retail outlets, recording companies, and booking agencies turned gospel into big business, and local church singers emerged as national and international celebrities. Amid these changes, the music acquired increasing significance as a source of black identity.

These successes, however, generated fierce controversy. As gospel gained public visibility and broad commercial appeal, debates broke out over the meaning of the music and its message, raising questions about the virtues of commercialism and material values, the contours of racial identity, and the nature of the sacred. Jackson engages these debates to explore how race, faith, and identity became central questions in twentieth-century African American life.

Comprehensive and richly illustrated, "Close Harmony traces the development of the music known as southern gospel from its antebellum origins to its twentieth-century emergence as a vibrant musical industry driven by the world of radio, television, recordings, and concert promotions.

Marked by smooth, tight harmonies and a lyrical focus on the message of Christian salvation, southern gospel--particularly the white gospel quartet tradition--had its roots in nineteenth-century shape-note singing. The spread of white gospel music is intricately connected to the people who based their livelihoods on it, and Close Harmony is filled with the stories of artists and groups such as Frank Stamps, the Chuck Wagon Gang, the Blackwood Brothers, the Rangers, the Swanee River Boys, the Statesmen, and the Oak Ridge Boys. The book also explores changing relations between black and white artists and shows how, following the civil rights movement, white gospel was influenced by black gospel, bluegrass, rock, metal, and, later, rap.

With Christian music sales topping the $600 million mark at the close of the twentieth century, "Close Harmony explores the history of an important and influential segment of the thriving gospel industry.

For over 200 years in African-American churches throughout the country, gospel and spiritual music have offered solace and been a source of celebration, leaving a mark not only on the Christian world, but on popular music as well. Ev'ry Time I Feel the Spirit contains the lyrics and music of 101 of the most widely known and cherished of these pieces, ranging from heartring spirituals sung during slave times (Steal Away; Swing Low, Sweet Chariot) to songs of unity from the civil rights movement and contemporary times (We Shall Overcome, I'll Fly Away). The book also presents a biography of each composer and the history of the evolution of each song, examining the role it played in enabling African-Americans to develop the strength to carry on in the face of adversity. An important historical document as well as an inspirational gift, the book captures the rich connections between song and experience as no other volume does.

"Mek Some Noise," Timothy RommenOCOs ethnographic study of Trinidadian gospel music, engages the multiple musical styles circulating in the nationOCOs Full Gospel community and illustrates the carefully negotiated and contested spaces that they occupy in relationship to questions of identity. By exploring gospelypso, jamoo (JehovahOCOs music), gospel dancehall, and North American gospel music, along with the discourses that surround performances in these styles, he illustrates the extent to which value, meaning, and appropriateness are continually circumscribed and reinterpreted in the process of coming to terms with what it looks and sounds like to be a Full Gospel believer in Trinidad. The local, regional, and transnational implications of these musical styles, moreover, are read in relationship to their impact on belief (and vice versa), revealing the particularly nuanced poetics of conviction that drive both apologists and detractors of these styles. Rommen sets his investigation against a concisely drawn, richly historical narrative and introduces a theoretical approach which he calls the ethics of styleOCoa model that privileges the convictions embedded in this context and that emphasizes their role in shaping the terms upon which identity is continually being constructed in Trinidad. The result is an extended meditation on the convictions that lie behind the creation and reception of style in Full Gospel Trinidad."Copub: Center for Black Music Research ""

Brilliant, cultured, brash, and irreverent, Ahmet Ertegun was a legend in the music world. Blessed with great taste and sharp business acumen, he founded Atlantic Records and brought rock 'n' roll into the mainstream. He quickly became as renowned for his incredible sense of style and nonstop A-list social life as for his pioneering work in the studio.
Ertegun discovered, signed, or recorded many of the greatest musical artists of all time, among them Ruth Brown; Ray Charles; Bobby Darin; Sonny and Cher; Eric Clapton; Buffalo Springfield; Crosby, Stills, Nash & Young; Led Zeppelin; and the Rolling Stones.
Ertegun lived grandly but was never happier than when he found himself in some down-and-out joint listening to music late at night. As colorful and compelling as its subject, "The Last Sultan "is the fascinating story of a man who always lived by his own rules.