gospel

Clara Ward | Smile

“Widely acclaimed among the greatest soloists in gospel history, Clara Ward was also the subject of much criticism from purists — with her backing group, the Ward Singers, she pushed gospel out of the church and into the nightclubs, infusing the music with a shot of glitz and glamour the likes of which had never before been seen,” (AllMusic). “Decked out in colorful gowns, towering wigs, and dazzling jewelry, the Wards sang only the biggest pop-gospel hits, flamboyantly delivered for maximum commercial appeal … At their creative peak, the group was a true phenomenon, combining superb soloists, exceptional material, and innovative arrangements to leave an indelible mark on the generations of spiritual performers who followed.

The Wards’ success, however, did not come without a price — Clara, the star of the group, later admitted to constant frustrations with her life as a teen phenomenon, and although she loved gospel, it appears unlikely that she would have pursued a singing career if not for the constant pressure applied by her mother … While her gorgeous alto was the centerpiece of hits like “How I Got Over,” arguably Ward’s greatest strength was as an arranger; “Surely God is Able,” the group’s biggest hit, even introduced a new waltz rhythm into the gospel lexicon … The consensus pick as the best hymn singers in the business, the Wards also rejected the homespun choir robes of the past in favor of elaborate costumes — according to legend, on one occasion their infamous wigs grew so tall that they actually touched the ceiling. Throughout the ’50s, they were among gospel’s elite, scoring more hits and making more money than any group before them.

To give the full picture of just how much of a departure into secular music 1966’s “Smile” was for Clara Ward, check out The Wards’ recording of “Surely God Is Able,” perhaps their most well-known release (below). Built in Eb major, the brief interlude of “Smile” (1:23 – 1:35 ) shifts into F major before returning to the original key. Originally co-written for the 1936 film Modern Times by its star, Charlie Chaplin, the track is more frequently performed as a ballad — but Ward’s decision to deliver the tune as a more up-tempo pop tune gave it new dimension.

Juanita Bynum | I Don’t Mind Waiting

“Juanita Bynum and Jonathan Butler … took the stage to bring fans Gospel Goes Classical (2007), an event of praise, inspiration and encouragement,” (CrossRhythms). “Anointed minister, author, and singer Bynum was joined by contemporary jazz and gospel artist Butler to share new songs and fan favorites in classical music splendour.

The orchestra and choir were led by renowned arranger/conductor Dr. Henry Panion III (Stevie Wonder, Dionne Warwick, Aretha Franklin, The Winans). The extraordinary live performances of Bynum’s ‘One Night with the King’ and ‘Holy Lamb,’ and Butler’s ‘Falling In Love with Jesus’ and ‘Don’t You Worry’ were capped off with a very special duet … ‘I Don’t Mind Waiting.'”

Starting with a gentle, straightforward statement of the melody from Bynum, the arrangement grows in intensity throughout. Half a dozen half-step key changes cascade past us before all is said and done.

Brent Jones | Praise in the Choir Stand

“Recorded live at Friendship Baptist in Yorba Linda, California, Brent Jones and the Best Life Choir’s rafter-raising ‘Praise in the Choir Stand’ (2025) offers Sunday morning gospel chock full of R&B influences,” (Journal of Gospel Music). “There’s a swaggering confidence in Jones’s voice, a gospel impresario on the best of terms with the musicians, singers, and the congregation. The full-throated Best Life Choir—which is so good, it should have received co-billing on the album cover—thunders its support like an ‘80s mass choir, especially on the title track … Like Jones’ previous release Live Your Best Life, Praise in the Choir Stand offers the spiritual and physical thrill of a live gospel program.”

After a start in Bb minor, there’s a shift to C# minor at 1:28 which persists to the end — through a grand pause and a huge sonic buildup by the ensemble.

Whitney Houston | Joy to the World

As always, we kick off the holiday season with Whitney Houston‘s inimitable cover of “Joy To The World,” originally recorded for the 1996 film The Preacher’s Wife. This arrangement hits the mark in every way — there are key changes at 0:43, 1:48, 2:22, 3:00 and 3:12, as well as a false ending at 3:37.

Kirk Franklin | Melodies From Heaven

“Kirk Franklin, set up with his band and choir in a corner of Uncle Jessie’s Kitchen, makes a declaration. ‘I know you’re at home right now, in your draws, listening to some Jesus music. It’s ok. Jesus loves you in your draws!’ The Arlington, Texas studio, named after a long time close friend, features a large photo of the iconic ‘I AM A MAN’ protest signs from the 1968 Memphis Sanitation Strike on the wall,” (NPR Music). “The jubilant energy that Franklin and company emit, juxtaposed with a visual reminder of the strife that Black people have endured, is illustrative of the importance of gospel music in the Black community.

For nearly 30 years, Franklin has been widely regarded for revolutionizing gospel. He incorporated secular music, particularly hip-hop, while preserving the message and integrity of traditional gospel. Here, he and his powerhouse choir pace through a decades-long, sixteen Grammy award winning discography of faith, praise and encouragement while cracking plenty of jokes. I cannot recall a more moving Tiny Desk home performance.”

The triumphant half-step key changes in the abbreviated NPR Tiny Desk version (2021) of “Melodies from Heaven” hit at 8:38 and 8:49. In an older live version of the tune, originally released in 1996 (also posted below), we hear the shifts at 2:21 and 2:43.

Al Green | Happy Days Ahead

“It starts with the voice. You either get it or you don’t — and though it took too long, by now almost everyone does,” (Robert Christgau). “Al Green’s mid-range generates a mellow burn like good single-malt Scotch and is cut by a rotgut roughness when he growls and a signature falsetto finer than wine. It’s hard to believe the Michigan-raised, Memphis-based Arkansan, born Albert Greene and now 61, was once dissed for being less manly than Otis Redding–women have always adored him. He seemed both vulnerable and passionate, and he minded his subtle touches like a love man should.

Green started in gospel, and after a return to Jesus and a fall from grace on the charts, he reinvented himself as a gospel singer in 1980 and eventually amassed a sacred catalogue to rival (although not equal) his secular one. That catalogue, especially his miraculously consistent Hi (label) albums with producer Willie Mitchell, has replaced macho pleas and pledges as the epitome of soul … Truth ‘n’ Time, the final album before (Green) devoted himself to his ministry (1978), is yet another expression of his mixed feelings about God and Mammon … Mammon just wasn’t doing it for him anymore.”

Starting in E major, “Happy Days Ahead” shifts to C major at 0:37, only to return to first key at 0:57. The pattern continues throughout.

Hozier | All Things End

“All Things End” is featured on Irish singer Hozier’s third studio album, Unreal Earth, which was released last year. “Hozier doesn’t just succeed in exploring that dark emotional world,” Rolling Stone said in their review of the record. “His painful ascent makes the listener immediately want to climb with him. Even harder, he successfully delivers a third album that doesn’t shy away from any topic, even when he doesn’t have the answers.”

Hozier draws on folk, blues, and soul influences; his debut single “Take Me To Church” hit #2 on the Billboard Hot 100 in 2013.

This song begins in A minor and shifts up a step to B minor at 2:41.

The Impressions | People Get Ready

“Seldom does a song go down in history as not only one of the best popular songs ever written, but as a song that is so universal in composition and message that it can be effectively covered by almost anyone,” (American Songwriter). “But that’s the case with ‘People Get Ready,’ recorded in 1965 by The Impressions and written by the group’s lead singer, Curtis Mayfield. Nearly half a century later the song continues to be recorded and performed by a variety of acts in several genres.

From the album of the same name, (it) was released during a time of civil unrest in America, when the country was in turmoil over race relations and the Vietnam War just as Mayfield was beginning to infuse his work with social commentary. Influenced by the music of the church and his preacher grandmother, Mayfield began singing professionally as a teenager, and his work would go on to define what was the Chicago soul sound as opposed to what was coming out of Berry Gordy’s shop in Detroit at the time. In a 1993 interview with National Public Radio’s Terry Gross … Mayfield said. ‘This is a perfect example of what I believe has laid in my subconscious as to the preaching of my grandmother, and most ministers when they reflect from the Bible.'”

“People Get Ready” was awarded a Grammy Hall of Fame award in 1998, its first year of eligibility. The song has been covered by literally dozens of other artists, including Bob Dylan, Alicia Keys, Exile and Matisyahu, and guitarist Jeff Beck obviously is a fan of the song, having recorded or performed it with Rod Stewart, Joss Stone, Sting and Queen’s Roger Taylor.

A half-step modulation drops during a short, understated guitar feature at the track’s midpoint (1:21).

USA for Africa | We Are The World

“We Are The World” was written by Lionel Richie and Michael Jackson as a benefit for African famine relief. Richie and Jackson, along with producer Quincy Jones, assembled a supergroup of singers, including Stevie Wonder, Ray Charles, Paul Simon, Billy Joel, Bob Dylan, Cyndi Lauper and many others, to record the track in January 1985. It quickly became the fastest selling pop single in US History, and raised over $80 million. Last month, Netflix released The Greatest Night In Pop, a documentary chronicling how the recording session came together and including footage from the studio.

The tune begins in E and modulates to F at 4:03.

Gospel Church | Anthem of Praise

” … composer, pianist, and arranger Richard Smallwood has clearly and solidly changed the face of gospel music,” (Kennedy Center). “He can impeccably blend classical movements with traditional gospel, and arrive at a mix that is invariably Smallwood’s alone. A diverse and innovative artist, Richard Smallwood has achieved many honors; Dove Awards and a Grammy also attest to his talents … Smallwood has been honored by the Smithsonian Institution as a ‘gospel innovator and songwriter,’ and his hometown, Washington, D.C. heralded two separate occasions as ‘Richard Smallwood Day,’ also, distinguishing him with the Mayoral Art Award for ‘precision and excellence in artistic discipline.'”

… His debut album, The Richard Smallwood Singers, spent 87 weeks on Billboard’s Gospel chart. “The next project, Psalms, received a Grammy nomination. Two years later, another nomination for Textures, the album that contained the classic ‘The Center of My Joy,’ penned by Richard Smallwood along with Bill and Gloria Gaither.” His career has only grown from there.

Gospel Church, a prominent French gospel ensemble, produced this video performance of Smallwood’s “Anthem of Praise” in late 2023. After a cinematic instrumental intro establishes the piece in Bb minor, the choir enters at 1:03. At 3:33, the arrangement transitions to Bb major; from there, there are half-step upward modulations with each successive vocal soloist, eventually landing in Db major. The final few seconds bring an emphasis on the original Bb, now clearly the implied relative minor even in the absence of any chord color.