Traditional and Public Domain Gospel Music is music that was written before 1923 (public domain) or gospel music that is traditional. The emphasis of this collection is the early country/bluegrass type music usually called "Southern Gospel." About 20% of the early country records from the 1920s and 1930s were shaped note hymns, old standards, folk hymns, spirituals, or southern gospel. Southern Gospel music evolved from the old standards (Old Rugged Cross), camp meeting songs (Old-time Religion), revivalist hymns, African-American spirituals and shape note songs (Amazing Grace) of the 1800s.
The gospel writers of revival hymns and camp meeting songs from the Third Great Awakening (beginning around 1856) were many and their output copious. Significant names include Dwight L. Moody, Ira D. Sankey, and William Booth and Catherine Booth (founders of the Salvation Army). Fanny Crosby (1820-1915), Philip Bliss, Robert Lowry and Charles Gabriel (1856-1932) were significant writers of gospel songs- Gabriel is said to have written and/or composed between 7,000 and 8,000 songs. The emphasis in this collection is on the songs that have remained popular in southern gospel/bluegrass circles or were recorded in the 1920 by early country musicians or country gospel quartets. Since much of this music was shared by black and white musicians, music by black musicians like Rev. Gary Davis and many African-American spirituals are included. There is more emphasis on folk or traditional gospel than composed hymns.
The main sources are Meade's "Country Music Sources" book, Tony Russell's "Country Music Records: a Discography, 1921-1942" and early song collections. The Carter Family and others preserved gospel songs from both black and white source in their effort to make new records. Included here are many African-American spirituals and folk hymns, which can be important additions to the Country/Bluegrass genre. Recent spirtituals that have been turned into bluegrass versions include "Walk Over God's Heaven" by Alison Krauss and the Cox family from the CD: I Know Who Holds Tomorrow, who do a cover of Mahalia Jackson's great version. There's plenty of cross over from both blues based spirituals and church spirituals to bluegrass--and there's room for more!
Here's some info from Wiki: The date of Southern Gospel's establishment as a distinct genre is generally considered to be 1910, the year the first professional quartet was formed for the purpose of selling songbooks for the James D. Vaughan Music Publishing Company. Nonetheless the style of the music itself had existed for at least 35 years prior although the traditional wisdom that Southern Gospel music was "invented" in the 1870s by circuit preacher Everett Beverly is spurious. The existence of the genre prior to 1910 is evident in the work of Charles Davis Tillman (1861-1943), who popularized "The Old Time Religion" and "Life's Railway to Heaven" and published 22 songbooks.
Southern Gospel is sometimes called "quartet music" by fans because of the originally all-male, tenor-lead-baritone-bass quartet make-up. Early quartets were typically either a cappella or accompanied only by piano or guitar, and in some cases a piano and banjo. Over time, full bands were added and even later, pre-record accompaniments were introduced. A typical modern Southern Gospel group performs with pre-recorded tracks augmented by a piano player and possibly a few other musicians.
Some of the genre's roots can be found in the publishing work and "normal schools" of Aldine S. Kieffer and Ephraim Ruebush. Southern Gospel was promoted by traveling singing school teachers, quartets, and shape note music publishing companies such as the A. J. Showalter Company (1879) and the Stamps-Baxter Music and Printing Company. Over time, Southern Gospel came to be an eclectic musical form with groups singing black gospel-influenced songs, traditional hymns, a capella (jazz-style singing with no instruments) songs, country gospel, bluegrass, and "convention songs" (which were more difficult).
Convention songs typically have contrasting homophonic and contrapuntal sections. In the homophonic sections, the four parts sing the same words and rhythms. In the contrapuntal sections, each group member has a unique lyric and rhythm. These songs are called "convention songs" because various conventions were organized across the United States for the purpose of getting together regularly and singing songs in this style. Convention songs were employed by training centers like the Stamps-Baxter School Of Music as a way to teach quartet members how to concentrate on singing their own part. Examples of convention songs include "Heavenly Parade," "I'm Living In Canaan Now," "Give the World a Smile," and "Heaven's Jubilee."
In the first decades of the twentieth century, Southern Gospel drew much of its creative energy from the Holiness movement churches that arose throughout the south. Early gospel artists such as Smith's Sacred Singers, The Speer Family, The Stamps Quartet, The Blackwood Family, and The Lefevre Trio achieved wide popularity through their recordings and radio performances in the 1920s, 1930s, 1940s and 1950s. On October 20, 1927, The Stamps Quartet recorded its early hit "Give The World A Smile" for Victor, which become the Quartet's theme song. The Stamps Quartet was heard on the radio throughout Texas and the South.
Others such as Homer Rodeheaver and the Cathedral Quartet became well-known through their association with popular evangelists such as Billy Sunday and Rex Humbard.
Representative Artists
Some of the best known Southern Gospel male quartets from various decades include the Blackwood Brothers, the Calvarymen, the Cathedral Quartet, Legacy Five, The Stamps Quartet, the Statesmen Quartet, the Imperials, Sunshine Boys Quartet, the Blue Ridge Quartet, Gold City, Ernie Haase & Signature Sound, the Kingsmen Quartet, the Triumphant Quartet, The Kingdom Heirs, the Gaither Vocal Band, Mercy's Mark, Brian Free and Assurance, the Florida Boys, the The Inspirations, and the Oak Ridge Boys.
Although the genre is known for its all male quartets, trios and duos have been a vital element of Southern Gospel for most of the genre's history. In decades past to more modern groups like Jeff and Sheri Easter, The Lewis Family, The Easter Brothers, the McKamey's, the Perry Sisters, Greater Vision, the Crabb Family, the Isaacs, the Hoppers, and the Ruppes. Pioneer groups like the Speer Family, the Lesters, the Klaudt Indian Family, the Chuck Wagon Gang, The Happy Goodman Family, The Cook Family Singers the LeFevres, and Rambos paved the way for modern mixed quartets and family-based lineups.
The Lesters from St. Louis, Missouri, are an example of family heritage in the southern gospel field. The current Lesters are in their eighth decade of ministry, tracing family roots to the original Lesters founded by Harvey "Pop" Lester and his wife Opal in 1925. Pop Lester's son, Herschel Lester, continued the family ministry, followed by Herschel's son and daughter as well as current group members Brian Herschel Lester (lead) and Ginger Lester Pitchers (alto). The current group is completed by Brian Herschel Lester's son, Jonathan (baritone), and Ginger Pitchers' daughter, Jenny Pitchers Revelle (soprano), representing the fourth generation.
Other famous family groups from various decades include the Hinsons, the Perrys, the Jordanaires, the Boones, the Hoppers, the Talleys, the Martins, and the Bill Gaither Trio.
Unlike most forms of popular music where soloists (and/or soloists with background vocalists) generally outnumber vocally balanced groups, vocal groups thrive in Southern Gospel. But the genre also has a growing number of popular soloists. Many of these gained their initial popularity with a group before launching out on their own as soloists. Some of the most popular of these include Jimmie Davis (1899-2000), Squire Parsons, Ivan Parker, and Mark Bishop. Southern Gospel was an early influence on Patsy Cline, Tennessee Ernie Ford, and Elvis Presley.
James D. Vaughan Publishing And School of Music: Founder of Southern Gospel Music
In 1902 James D. Vaughan moved his family to Lawrenceburg, Tn. from Giles County Co., Tn. where he was a teacher. And short while later he opened his publishing house on the Public Square in Lawrenceburg to furnish a complete gospel music service.
The Vaughan Music Company published his first song book ”Gospel Chimes”, in 1900. Business grew steadily and in 1909 he sold 30,000 songbooks. James D. came up with an idea in May 1910 to promote the books, and the first professional all-male Southern Gospel Quartet in America hit the road. The first year on the road the Quartet doubled sales of songbooks to 60,000. The next year they sold 75,000 and in 1912 they sold 85,000. In 1911, Vaughan started the famed “Vaughan School of Music.” Each year students came from across the United States to study rudiments, harmony, sight-singing, class directing, and participate in private lessons for piano and voice.
In 1912 Mr. Vaughan also published the monthly Newsletter called “The Vaughan’s Family Vistor”, to announce new books and singing schools. One of Lawrence County newspapers went out of business and Mr. Vaughan took it over and began weekly publications of “The Lawrence News” on October 1, 1919. He pioneered in mass media, opening Tennessee’s first radio station, “WOAN”, (“Watch Our Annual Normal”) in 1922, for the purpose of spreading his music. The station operated for two years with 150-watt transmitters used during the session of the Vaughan School of Music received by thirty-five states and Canada. On January 1, 1925 WOAN was stepped-up to 500 watts. WOAN divided time with Nashville’s WSM with it on the same dial reading. Later WSM received full time on the dial when WOAN was discontinued.
In 1921 he started the first Southern based Record Company, “Vaughan Phonograph Records.” The first song recorded was “I Couldn’t Hear Nobody Pray,” and on the other side was “Look For Me,” written by V.O. Stamps, who worked for Vaughan until he started the successful Stamps Music Company.
Another aspect of James D. Vaughan’s music business was the promotion of the Vaughan Singing Convention or The National Gospel Singing Conventionthat had its beginning during the 1936 session of the Alabama State Singing Convention. Which still meets once a year in different states.
During the years, Mr. Vaughan wrote the words or music to many beautiful gospel songs; some remembered best:
“Lead Me Shepherd”; “He Will Carry Us Safety Home”; “Will The Circle Be Unbrokern”; “God Shall Wipe All Tears Away”; “I Will Meet My Preciuos Mother” ; “ Gathering Buds”; “ I Feel Like Traveling On”; “ The Best Of All” ; “ Some Day I’ll Have A Home”; “ If I Could Hear My Mother Pray Again,” “The Old Country Church,” “ I Know ‘Tis So”; “ I’m Glad To Say I’m On My Way”; “ God Holds The Future In His Hands” ; “ Do You Know Him,” “The Same Old Story” and “I Dreamed I Searched Heaven For You.”
After Mr. Vaughan’s death in 1941 his son, Kieffer, took over his father’s business and the company lived on through Vaughan’s books in the same seven-shape note system.
Other noticed songwriters and composers with the Vaughan Publishing Company and School were:
Adger M. Pace with songs; “Just A Closer Walk With The”; “I Can Tell You The Time” ;“He’s The Best Friend I Ever Had”; “Peace, Sweet Peace,: and “We’ll Understand It Better By and By.”
G.T. Speers: “I Want To Be Ready To Meet Him”; “The Old Gospel Ship” ;“When I Kneel To Pray” and “Heaven Jubilee.”
Virgil O Stamps: “It’s Well With My Soul” ; “Look For Me” and “Dreaming Alone In The Twilight”
G.Kieffer Vaughan: “When We Look On His Face”; “And When The Eventide Comes.”
James D. Walbert: “Look Away To Jesus”; “I’ll See And Know My King” and “Only a Step.”
B.W. Walbert: “He Broke The Chains”; “Oh What A Blessing He Is To Me” and “Hallelujah, He Is Mine.”
J.W. Vaughan: “In The Morning Bright And Fair”; “If I Could Hear My Mother Pray Again”and “When The Evening Shadows Fall.”
Charles W. Vaughan: “I’ve Had A Talk With Jesus” ;“Do You Know Him” and “When I Get To Heaven.”
From “Who’s Who” “Amont Southern Singers and Composers” by Ottis J. Knippers :
Dwight M. Brock; L.O. Brock; Roy L. Collins; The Denson Trio; Cecil C. and Ottis J. Knippers; Alphus LeFevre; Otis L. McCoy; J. Raymond Parker; James Rowe; James P. Waits.
With such Quartets as: The Brock, Denson, Hood, Jennings, Speer and Vaughan Quartets traveling and singing Southern Gospel Music. These are only a few of the great singers,writers and composers that were associated with the Vaughan Organization.
Members of Vaughan’s Normal School Class of 1922:
J.E. Beckett, H.G. Shirey, Mack Hooks, F.X. Trigg, L.O. Prater, T.H. Stephens, W.A. Wheeler, C.A. Glover, Martin S. Smith, Van Jones, E.R. Duffer, W.L. Wooten, Johnie Bailey, W.J. Bracker, Jack Edwards, Lonnie Sims, D.T. Bishop, J.E. Martin, D.S. Howell, George Sullivan, Eugene Dawson, Justus Brewer, Harvey Duffer, Veron Leonard, J. E. Palsner, Basil Glover, Earl Coffey, J.M. Coffey, Carl Lavderdale, S.J. Pinston, T.L Crenshaw, C.L. Hitt , Arthur J. Pruitt, C.F .Williams, Ben Watson, Rev. S.A. Gaby, D.A. Parris, Tom Cole, Charlie N. Clark, Oron Hood, Fred Cathey, J.F. McCathy, Russell Howell, Bessie Sweet, Louvillie Lynn, Lucile Loval, Mrs. W.W. Combs, Jones Woody, W.E. Gordon, Loyd Braser, Prestley Miller, Hutie Bishop, G.E. Shaffer, Claud Richerdson, T.D. Vaughan, Edd Brown, J.W. Fowler, R.E. Freeman, Roy Barler, J.T. Speakman, A. A. Robertson, E.C. Roberts, Thoams Stochton, R.R Pollock, H. Barnart, Walter B Scale, James Depew, W.W. Combs, B.C. Unseld, J.G. Vaughan, V.O.Stamps, and 12 unnamed.
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Rosenbaum
SIDE II Band 2 DEAD AND GONE
Sung by Brady ''Doc'' Barnes, with guitar.
Athens, Clarke County, August 16, 1983.
Doc learned this old spiritual from his grandmothers, both of whom where born in slavery, I Nervy Barnes and Hannah Collins he later added the bottleneck or knifestyle
guitar setting. The melody is similar
to that of the well-known spiritual, "Every
'rime I Feel the Spirit." Charles Perdue
found a text titled "My Mother Died A-Shouting"
in the WPA Georgia manuscripts
(Don't Let the Devil Out-Talk You, University
of Georgia Libraries, unpublished ms.)
and Harold Courlander gives a version
called "Dear and Gone", Negro Songs from
Alabama, New York: Oak Publications, l~SO,
~"Shouting " refers to the West African
practice of moving in a fervid dancelike
manner to singing and percussive
rhythm. FVV, p. 34 .
1. My po' mother, she died a-shouting,
And all the friends I had, dead and gone.
Chorus:
Dead and gone, Lord, dead and gone, Lord,
All the friends I had, dead and gone .
2. She gone on to glory , she gone on to glory,
All the friends I had, dead and gone.
(Chorus)
3. She died a-shouting, she died a-shouting,
All the friends I had, dead and gone.
(Chorus)
4. Repeat 2