Continuing on black gospel quartets...

One of my favourites of black gospel is a very unique black gospel quartet known as The Staple Singers (though they would eventualy go secular and change their style).Beginning to record in the 1950's it was a family quartet that had shared lead vocals by "Pop" Roebuck Staples and his daughter Mavis.Their sound was led by Pop's electric guitar and often rocking on the drums, drawing on Mississipi blues guitar and country and westernPop's lead vocals have more of a country twang, while Mavis has a lively, often edgey soulful voice that is reminiscent of both the Pentecostal church and soul singers like Aretha Franklin (though I prefer Mavis).Meanwhile the vocal harmony parts echo both the barbershop roots of gospel quartet, and country and western harmony.At times I seem to detect a subtle tinge of bluegrass harmony.If I'm hearing right this would connect the early Staple Singers harmony to both Sacred Harp singing and the Appalachian style of Lining out that is sung by the Primitive Baptists (with it's Celtic tinge).Because this type of southern church singing had a huge impact on bluegrass singing.

Well that's basically my look at the roots of black gospel.From the three types of black gospel I mentioned, things have evolved to where they are today.The emphasis these days is the kind of gospel that evolved from the likes of Dorsey and others similar to his kind.Of course many today are taking inspiration from current sounds of the time and adding it to the gospel style.But this was no different then what Dorsy did in his day.

Hopefully what I have written helps to answer the question of this thread.Or atleast give some clues.


PS.I'll admit my last post got kind of bogged down in the details.