Great God A’mighty! The Dixie Hummingbirds Celebrating the Rise of Soul Gospel Musicġ Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Taipei Tokyo Toronto Copyright © 2003 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford University Press All rights reserved. He blocks an office working throwing away a piece of paper, a women taking. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. The commercial shows Mutombo, the second all-time shot-blocker in NBA history, dressed in a red uniform with his No. Library of Congress Cataloging-in-Publication Data Zolten, Jerry. Great god a’mighty! the Dixie Hummingbirds: celebrating the rise of soul gospel music / Jerry Zolten. Includes bibliographical references and index. Gospel musicians-United States-Biography. Hill, Willie “Preacher” Richardson, and Walter SettlesĬontents Preface 1 “A Wheel in a Wheel, ’Way Up in the Middle of the Air”Ģ “I Just Got On My Travelin’ Shoes” (1929–1938)ģ “Ain’t Gonna Study War No More” (1939–1942)ĥ “Move On Up a Little Higher” (1945–1949)ħ “Let’s Go Out to the Programs” (1952–1959) To my mother, Betty, my wife, Joyce, and my son, Zach In memory of my father, Bam In memory of my mentors, Gerald M. Preface I was one of thousands of white kids who, in my case growing up outside of Pittsburgh in the late 1950s and early 1960s, discovered the exciting and-at the time-exotic world of black music hidden away at the lower end of the radio dial. The station was WAMO out of Homestead, and the music-primarily jazz, rhythm and blues, and doo-wop-was impossible to ignore. In my town, McKeesport, the station and the music came to signify teen rebellion, an intelligent underground alternative to the bland pop that then dominated mainstream airwaves. By the time I graduated from high school, I had amassed thousands of choice 45-rpm records by African American performers the more obscure the better. It was around then that I chanced on a segment of the WAMO broadcast day that I had never before heard.
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