The only thing that changed over the years is that in the later years, I would run with her!Ĭonfession: God has brought me up out of a horrible pit, and out of the miry clay. Hallelujah!” She continued to shout, “ W oooooo!” and ran around the church. More educated and prosperous people joined the congregation, but she would still say, “Hallelujah! Hallelujah! It is much larger now than it was when I was a child. Mom ran around the church in West Columbia, Texas, for many years. He also said, “You need to see how wonderful you are in God and how helpless you are without Him.” Smith Wigglesworth said, “Some people would be giants in faith if they just had a shout.” Faith shouts while the walls are still standing. Make sure you know what you are shouting about and let it rip! The company that makes Shout detergent uses the slogan: “For those tough stains, you have to ‘Shout’ them out!” I couldn’t agree more. (Romans 1:16)Įverything changes when you begin to understand who you are in Christ and begin to act like the Bible is true.
There are also obvious influences both from more secular forms of blues and upon later forms of soul music, the latest track ( Dorothy Love Coates' 1956 single "That's Enough") almost verging on R&B and rock & roll.I am not ashamed of the gospel of Christ: for it is the power of God unto salvation to everyone that believeth. None of this is exactly pop or R&B, but some of the tunes have a swing as well, such as the Golden Gate Jubilee Quartet's "Sun Didn't Shine." Some of the songs made an impact beyond the world of gospel, such as "When the Saints Go Marching In," "If I Had My Way," "Let Your Light Shine on Me," and the Golden Gate Jubilee Quartet's effervescent, wryly humorous World War II commentary "Stalin Wasn't Stallin'." This anthology is not only a quality collection of black gospel from the early- to mid-20th century, it's also probably one of the gospel collections most likely to be enjoyed by listeners who don't specialize in gospel, such is the strength, emotion, and bounce of the performances. Gospel's connection to the blues is especially prevalent in Johnson's sides, and most of the other tracks are simply arranged (and sometimes a cappella), leaving the most heartfelt and stirring qualities on the surface.
Even though much of this was issued on a major label, to modern ears it's fairly raw, or at least unadorned, especially in comparison to the slick product much commercial gospel eventually became.
It does lean heavily on selections by a few artists ( Blind Willie Johnson, Mahalia Jackson, the Golden Gate Jubilee Quartet, and the Dixie Hummingbirds) in particular, but as those are all major gospel recording acts, that's not a hindrance. Unclear packaging aside, this is a very good anthology of African-American gospel from 1926 to 1957, mostly (though not exclusively) drawn from the vaults of Columbia Records. it out, shout it out Your blood has bought my freedom No greater love than this My king would die for me Not even death could hold you. It has quite a few of the same tracks, but not all of them, subtracting some and adding a few others. A list of lyrics, artists and songs that contain the term 'shout it out' - from the website. According to the back-cover blurb, this 26-song compilation was "inspired by the companion album to Anthony Heilbut's landmark 1971 book The Gospel Sound." It's not quite spelled out in the liner notes, but this CD is not identical to the 1994 two-CD compilation also called The Gospel Sound.
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