Go-go is the conga drum-inflected black popular music that emerged in Washington, D.C., during the 1970s. The guitarist Chuck Brown, the "Godfather of Go-Go," created the music by mixing sounds borrowed from church and the blues with the funk and flavor that he picked up playing for a local Latino band. Born in the inner city, amid the charred ruins of the 1968 race riots, go-go generated a distinct culture and an economy of independent, almost exclusively black-owned businesses that sold tickets to shows and recordings of live go-gos. At the peak of its popularity, in the 1980s, go-go could be heard around the capital every night of the week, on college campuses and in crumbling historic theaters, hole-in-the-wall nightclubs, backyards, and city parks.

"Go-Go Live" is a social history of black Washington told through its go-go music and culture. Encompassing dance moves, nightclubs, and fashion, as well as the voices of artists, fans, business owners, and politicians, Natalie Hopkinson's Washington-based narrative reflects the broader history of race in urban America in the second half of the twentieth century and the early twenty-first. In the 1990s, the middle class that had left the city for the suburbs in the postwar years began to return. Gentrification drove up property values and pushed go-go into D.C.'s suburbs. The Chocolate City is in decline, but its heart, D.C.'s distinctive go-go musical culture, continues to beat. On any given night, there's live go-go in the D.C. metro area.

Do you remember when certain songs connected you to that special someone and related to a certain time and location as if the recording artist knew what you were going through? Those were the days of doo-wop, better known as the good old days. The songs were magical, they touched you. Songs like: "Tears On My Pillow"-by Little Anthony & The Imperials, "Lovers Never Say Goodbye"-The Flamingoes, "Oh What a Night"-The Dells, "For Your Precious Love"-Jerry Butler & The Impressions. Even a song like "Soldier Boy"- by the Shirelles today relate to our troops, friends and love ones in combat. Fighting to preserve our freedom. The magical legacy carried over into the sixties and seventies. "Yes I'm Ready"-Barbara Mason, "Hey There Lonely Girl"- Eddie Holman, "Storm Warning"- The Volcanos, "Love Aint Been Easy"-The Trammps. These songs and the late Weldon McDougal III inspired me to write the true story of "The Volcanos" and "The Trammps." You will read about the beginning of my hunger to be in show business, the success and the unheard-of phenomenon that took place behind- the-curtains with "The Volcanos" and The Grammy Award Winning "Trammps." Jerry Blavat would say "You Only Rock Once" Read on and relive the days of doo-wop, disco, and memories. It's show time So Let the show begin..............

When Sam Cooke was shot dead in a cheap motel in Hollywood, he was one of America's most successful pop stars. He left a world in which he had been born poor and had become very rich from the success of such records as "You Send Me" and "A Wonderful World", yet his body lay unrecognised in a morgue for two days. This biography follows Cooke's life in a racist America where his voice was one of the first to reach beyond the segregated audiences and command a white following, Cooke himself becoming a player in the fledgling civil rights movement. This award-winning biography is a full and sometimes shocking story of a man whose songbook is revered by great performers such as Otis Redding, Rod Stewart and Aretha Franklin.

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!

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!!

"I Never Loved a Man the Way I Love You," Aretha Franklin's first album for Atlantic Records and famed producer Jerry Wexler, was a pop and soul music milestone that jump-started Franklin's languishing career. Almost overnight, Aretha became a top-selling recording artist and a cultural icon. Matt Dobkin has unearthed fascinating details about the recording session in Muscle Shoals, Alabama: about the volatile behavior of Aretha's manager/husband, Ted White; about Aretha's reaction to the lack of black musicians in the session; and about how tempers and alcohol almost derailed the session with only a track and half in the can.
This book goes far beyond anything that's been written about "The Queen of Soul" or her music before. I NEVER LOVED A MAN THE WAY I LOVE YOU is the story of a great achievement and includes scores of fresh interviews, including Wexler, the session men from Muscle Shoals and Aretha's own musicians. It gives insight into a star more complex and determined than her modern diva image would seem to indicate. Aretha, a teenage mother and daughter of a commanding preacher father, rose above her circumstances and transformed them into art. She gave the Civil Rights movement, already well underway in 1967 when the album came out, a passionate call to arms. And with "Respect" she provided the burgeoning feminist movement with an enduring theme song.
The first serious, non-biographical look at Aretha Franklin's work, I NEVER LOVED A MAN THE WAY I LOVE YOU will deepen even ardent fans' understanding of one of the great soul artists of our time, a direct descendant of Bessie Smith and Billie Holliday.
"Effusive writing...about her sublime musicianship and theimpact of her songs on feminism and the Civil Rights movement...opens an enlightening window on the creative process."
--"Publishers Weekly"

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.

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.

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.

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 Epistle Of Ignatius To The Ephesians.

The First Epistle Of Clement To The Corinthians.

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

The Epistles Of Jesus Christ And Abgarus King Of Edessa.

The First Gospel Of The Infancy Of Jesus Christ.

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.

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.

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.