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The Gospel Caravan
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This chapter examines the continued evolution of the Chicago gospel music in the mid-twentieth century, led by the Good Shepherd Singers, re-christened the Gospel Caravan or simply Caravans. By the 1950s, gospel music had become the predominant sound of the semi-demonstrative, as well as some deliberative, or sermon-centered, African American churches in the urban North. Recognizing the financial upside of gospel music, independent record company owners, religious disk jockeys, and promoters sought to commodify it for mass consumption. This chapter first discusses the performances and recordings of the Caravans, along with members who came and went, before turning to some of the other important figures on the gospel music circuit, including Alex Bradford and his Bradford Specials, the Maceo Woods Singers, the Staple Singers, artists under Vee Jay Records, the Duncanaires, the Little Lucy Smith Singers, Sammy Lewis, and Mahalia Jackson.
Title: The Gospel Caravan
Description:
This chapter examines the continued evolution of the Chicago gospel music in the mid-twentieth century, led by the Good Shepherd Singers, re-christened the Gospel Caravan or simply Caravans.
By the 1950s, gospel music had become the predominant sound of the semi-demonstrative, as well as some deliberative, or sermon-centered, African American churches in the urban North.
Recognizing the financial upside of gospel music, independent record company owners, religious disk jockeys, and promoters sought to commodify it for mass consumption.
This chapter first discusses the performances and recordings of the Caravans, along with members who came and went, before turning to some of the other important figures on the gospel music circuit, including Alex Bradford and his Bradford Specials, the Maceo Woods Singers, the Staple Singers, artists under Vee Jay Records, the Duncanaires, the Little Lucy Smith Singers, Sammy Lewis, and Mahalia Jackson.
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