Presents the history of gospel music in the United States. This book traces the development of gospel from its earliest beginnings through the Golden Age (1945-55) and into the 1960s when gospel entered the concert hall. It introduces dozens of the genre's gifted contributors, from Thomas A Dorsey and Mahalia Jackson to the Soul Stirrers.

In this groundbreaking book, renowned religion scholar Philip Jenkins offers a lost history, revealing that, for centuries, Christianity's center was actually in the Middle East, Asia, and Africa, with significant communities extending as far as China. The Lost History of Christianity unveils a vast and forgotten network of the world's largest and most influential Christian churches that existed to the east of the Roman Empire. These churches and their leaders ruled the Middle East for centuries and became the chief administrators and academics in the new Muslim empire. The author recounts the shocking history of how these churches—those that had the closest link to Jesus and the early church—died. Jenkins takes a stand against current scholars who assert that variant, alternative Christianities disappeared in the fourth and fifth centuries on the heels of a newly formed hierarchy under Constantine, intent on crushing unorthodox views. In reality, Jenkins says, the largest churches in the world were the “heretics” who lost the orthodoxy battles. These so-called heretics were in fact the most influential Christian groups throughout Asia, and their influence lasted an additional one thousand years beyond their supposed demise. Jenkins offers a new lens through which to view our world today, including the current conflicts in the Middle East, Asia, and Africa. Without this lost history, we lack an important element for understanding our collective religious past. By understanding the forgotten catastrophe that befell Christianity, we can appreciate the surprising new births that are occurring in our own time, once again making Christianity a true world religion.

The old gospel song invited listeners to turn their radios on and hear the . . . music in the air. Now return to the eventful days when Americans could “turn the lights down low and listen to the Master’s radio” through this colorful and inspiring history of Christian music and ministry during the golden age of gospel radio. Learn the stories behind such legendary groups as Blackwood Brothers, Statesmen, Gaithers, Back to the Bible Quartet, Old Fashioned Revival Hour Quartet, Haven of Rest Quartet, and Stamps Quartet. Follow the careers of the great songwriters of the radio days, men such as Albert Brumley, Merrill Dunlop, John W. Peterson, and Stuart Hamblen. Read about the evangelists who pioneered Christian broadcasting, such as Billy Graham, Charles Fuller, Jack Wyrtzen, Percy Crawford, Paul Myers, Torrey Johnson, Walter Maier, Theodore App, and Paul Vader. And learn the stores behind the greatest gospel songs of the country, from “Some Golden Daybreak” to “Beyond the Sunset,” plus more than 100 others!

Gospel music evolved in often surprising directions during the post-Civil Rights era. Claudrena N. Harold's in-depth look at late-century gospel focuses on musicians like Yolanda Adams, Andraé Crouch, the Clark Sisters, Al Green, Take 6, and the Winans, and on the network of black record shops, churches, and businesses that nurtured the music. Harold details the creative shifts, sonic innovations, theological tensions, and political assertions that transformed the music, and revisits the debates within the community over groundbreaking recordings and gospel's incorporation of rhythm and blues, funk, hip-hop, and other popular forms. At the same time, she details how sociopolitical and cultural developments like the Black Power Movement and the emergence of the Christian Right shaped both the art and attitudes of African American performers. Weaving insightful analysis into a collective biography of gospel icons, When Sunday Comes explores the music's essential place as an outlet for African Americans to express their spiritual and cultural selves.