PRAYZEHYMN Online | where gospel music lives [Gospel 101: 70's Countdown]

By J. MATTHEW COBB
Founder, Editor-In-Chief of PRAYZEHYMN Entertainment
Posted: November 25, 2007

GOSPEL MUSIC OF THE 1970s remain an important transition period in the contemporary gospel arena. The vivid expressions carried from the popular styles of pop music including disco, funk and soft rock can be heard in most of gospel’s shiniest moments during this period. Maybe gospel was shedding its old skin of the legendary quartet style and traditional batter made by Golden Age artists like Dorothy Love Coates, Clara Ward, Roberta Martin and the Soul Stirrers, but it was apparent to the legion of gospel supporters and listeners during this period that they were not listening to their mother’s records. At the tail end of 1969, Edwin Hawkins ushered in the prototype of modern gospel with “Oh, Happy Day” and sparked the interest of the generation to come with earnest desires to experiment with pop-friendly structures. In doing that, the crossover was keenly instituted in the walls of gospel music’s next batch of gospel torchbearers. Artists like the Staple Singers, led by gutsy vocal powerhouse Mavis Staples, and Andrae’ Crouch dug deeper into different musical frames to transport their familiar gospel roots and began their odysseys into pop culture. Their creations were instant sensations and prepared the way for Walter Hawkins, the Rance Allen Group, the Clark Sisters, Donald Vails, Rev. Milton Brunson and the New York Community Choir.

But not all the sounds of the era were dominated by innovative youthful trends. Dorothy Norwood, Albertina Walker, Inez Andrews and the younger Shirley Caesar - longtime members of the legendary Caravans, decided to depart their familiar campgrounds as a hit soul gospel group to go solo. With their soulful gospel connections and a supportive fanbase backing them, all four of these leading ladies enjoyed a session of radio-powered gems. And it would be a sinful crime to forget the colossal forces from the brainchild of the Caravans’ immediate success - Reverend James Cleveland. For example, the control he had at Savoy Records within their gospel division made him an overnight superstar. Becoming the Isaac Hayes of Gospel, James Cleveland’s involvement on the surface of gospel could be compared to a takeover. He helped ushered in a new wave of talent through his annual Gospel Music Workshop and presented new artists through his music label. The James Cleveland Singers, the Southern California Community Choir (whom also backed up Aretha Franklin on her best-selling epic Amazing Grace), Donald Vails, Charles Fold, Sara Jordan Powell, the Harold Smith Majestics and a host of new choirs were led by Cleveland’s pioneering standards in traditional gospel. It’s probably fair to say that he had an involvement in almost half of the gospel projects released during this period - especially on the Savoy music label; formerly distributed through Arista Records.

And let's not forget about the popular message songs and gospel offerings coming from the myriad of mainstream artists during this time. It wasn’t a surprise to hear artists like Donny Hathaway, Aretha Franklin, Earth Wind & Fire, the mighty O’Jays or even Paul Simon storming through the pages of gospel’s encyclopedias. After surviving a painful period of American history during the druid 1960s (the Civil Rights movement, assassinations of American heroes including Dr. Martin Luther King, Jr., President John F. Kennedy and Malcolm X), mainstream artists were very bold in expressing their faith on record and did it without any fear of rejection from their loyal fanbase. This kind of commitment ultimately led to the common standard known in the gospel community today for artists from other genres to freely express their faith in God through the medium of gospel music.

This compilation features the top fifty songs from this powerful decade of musical expression and brilliance in gospel music. And after hours of research, careful vinyl spins and scanning up and down Billboard’s storybook of charts, we have carefully gathered each bit of information with the hopes of revealing the true beauty behind these treasured, unforgettable valuables. Plenty of songs come to mind for such an assignment, but these fifty songs were ordained to make the list.

"WHEN JESUS COMES," SARA JORDAN POWELL, WHEN JESUS COMES (Savoy, 1977) Powell's biggest hit - recorded live at West Angeles COGC - contains a shimmering narrative taken from the pages of the New Testament about the blind man and his miracle. Powell's warm voice serenaded by a delightful piano arpeggios remain the heart of this moving ballad.	"LET HIM IN TODAY," REV. JAMES CLEVELAND, LIVE AT CARNEGIE HALL (Savoy, 1977) Clocking over ten minutes, this uptempo contemporary gospel groove is loaded with delicious funk, a meticulous horn arrangement and exuberant ad-libs from Cleveland. They may be at Carnegie Hall, but Cleveland has no problem taking the audience to church on this one.	"IT'S ALL RIGHT NOW," JESSY DIXON, IT'S ALL RIGHT NOW (Light, 1977) Done using Nashville-styled strings and guided by then-labelmate Andrae' Crouch, Dixon sings to this warm pop ballad and becomes one of his signature solo efforts, even though at the time it was just a modest hit. Amazingly, the song has since been covered by CCM's Sandi Patty and the late Bishop G.E. Patterson.
"OH HAPPY DAY/MY FATHER'S HOUSE/MY SWEET LORD," ROBERTA KELLY, GETTIN THE SPIRIT (Casablanca, 1978) The discotheques ate this infectious badboy up. The songs were meant to be individually played, but each song runs right into the next like one never-ending medley. What is so striking about this cut is how incredible the session players delivered - especially on the horns and strings. The song features disco renditions of two of Edwin Hawkins' classics and climbed to number nine on Billboard's Club charts.	"A PRAYING SPIRIT," CLARK SISTERS, COUNT IT ALL JOY (SOG, 1978) Just the breezy melody on this midtempo gem penned by Twinkie Clark and the transparency revealed within the heartfelt lyrics is enough to satisfy any gospel sweet tooth. But the beauty of the song, without a doubt, is acredited to the Clark's colorful harmonies. Yeaaa, yes Lord.	"ORDINARY PEOPLE," DANIEBELLE HALL, LET ME HAVE A DREAM (Sparrow, 1977) Not to be confused with John Legend's version, this mesmeric ballad features Hall - a former lead singer for Andrae' Crouch. Though simple in its musical design, the message in the lyrics is timeless. By far her greatest musical achievement ever.
"OPEN OUR EYES," EARTH, WIND AND FIRE, OPEN OUR EYES (Columbia, 1974) EWF's biggest jump into gospel may have been this title cut from their best-selling 1974 album. And in their prolific style of arranging using jazz/R&B sophistication, the harmonies of the group, subdued horns and Maurice White's earnest pleas for salvation are superbly done.	"PUT YOUR HANDS TOGETHER," O'JAYS, SHIP AHOY (PIR, 1973) Peaking at number 10 pop and 2 R&B, the mighty O'Jays easily pushes gospel elements to the forefront on this powerful message song from the creative minds of Gamble & Huff. The guys are praying for a better day and are doing it to an irresistable funky beat.	"I'VE BEEN IN THE STORM TOO LONG," MIGHTY CLOUDS OF JOY, CHANGING TIMES (Epic, 1978) This James Cleveland submission made landfall on the Mighty Clouds' Epic debut and to this day remains one of their finest soul ballads. Ligon's impressive lead on the stellar production tells of the group's lasting power and finds them returning back to their traditional quartet element.
"COME YE DISCONSOLATE," ROBERTA FLACK & DONNY HATHAWAY, ROBERTA FLACK & DONNY HATHAWAY (Atlantic, 1972) Not only was this a breathtaking duet featuring two incredible soul artists, but this was a spiritual union brilliantly showcasing their faith on one of the greatest renditions of this classic hymn. It probably explains why Ted & Sheri's recent revival of this masterpiece became a radio favorite.	"OLD LANDMARK, " ARETHA FRANKLIN, AMAZING GRACE (Atlantic, 1972) Engaging tamboruine action, fiery bass thrills and infectious choir phrasing highlight this sanctified powerhouse. And with Aretha carefully easing into the lyrics of this William Brewster/Clara Ward classic with smart timing and showcasing that high register, the song is by far a charismatic classic. Soulful gospel at its best.	"JESUS IS LORD," ANDRAE' CROUCH, I'LL BE THINKING OF YOU (Light, 1979) Crouch learns a couple of lessons from George Clinton's Funkadelic songbook and utliizes the funk around Crouch's signature songwriting. When the vamp finally storms in, the funk gets hotter, edgier and superlisticly groovy. It's one of his coolest uptempo achievements and still remains fresh after all these years.
"PLEASE BE PATIENT WITH ME," ALBERTINA WALKER WITH JAMES CLEVELAND, PLEASE BE PATIENT WITH ME (Savoy, 1979) To show just how caring James Cleveland could be, he decided to give a great song like this to Caravans' leader Albertina Walker. And even though Cleveland could have pulled this song off on his own, Walker's incredible passion for gospel are quite obvious as she delivers one of her best soulful gritty vocals ever. The self-titled album gave Walker her first Grammy nod.	"HE'S SO REAL," REV. CHARLES NICKS & THE ST. JAMES CHOIR, HE'S SO REAL (SOG, 1979) A song that would later emerge to become a bonafide classic in the National Baptist Convention, Nicks uses his commanding baritone to edify the hymn-like song into the walls of gospel music history. The sing-a-long nature of the popular chorus continues to surface as an important ritual in African-American church services today.	"GOD IS," REV. JAMES CLEVELAND & THE SOUTHERN CALIFORNIA COMMUNITY CHOIR, IT'S A NEW DAY (Savoy, 1979) The beautiful nature of this graceful gospel ballad, featuring the lead vocals of Nathaniel Morris and Doris Pickett, continues to excite gospel music lovers today. And while many covers of this Robert Fryson number have popped up by artists like Bruce Parham, Donald Lawrence, Lou Rawls and Dr. Charles G. Hayes, the original is hard to beat.
"LOVE BROUGHT ME BACK," DJ ROGERS, LOVE BROUGHT ME BACK (Columbia, 1982) Known to most for his acoustic piano- based of "Say You Love Me", DJ Rogers never really strayed away from his gospel roots. He makes his biggest leap into gospel territory with this moving light-disco cut; expressing the redemptive nature of God's love. The groove of the song is highly remembered by Rogers' fans - reaching number 20 on the R&B charts.	"AIN'T NO NEED OF CRYING," RANCE ALLEN GROUP, A SOULFUL EXPERIENCE (Stax, 1977) Penned by Stax alumnus David Porter (Soul Man, Hold On, I'm Coming), this proverbial cut is deeply soaked in cool R&B flavor and in a relaxed soul gloss. With Rance Allen's gratifying lead vocals on board, the song ushered the group into a place of crossover popularity with R&B supporters - reaching number 61 R&B.	"NO CHARGE," SHIRLEY CAESAR, NO CHARGE (HOB, 1975) The wise storytelling craft of Shirley Caesar leaps out with resounding results on this unexpected hit. By this time, raps were the popular thing in R&B music (Isaac Hayes, Shirley Brown), so it came as no surprise to see gospel jumping on board this new trend. Execpt on this cut, Caesar tells a moral-infused fable and wraps a powerful chours set to music towards the end.
"GOD IS STANDING BY ," WALTER HAWKINS & THE LOVE CENTER CHOIR, LOVE ALIVE (Light, 1975) Lynette Hawkins explodes through a fiery, Baptist-flowing groove and picks up drastically on the attached reprise when the choir proclaims the repeatitve phrase: "God is, God is." Truly a landmark performance in the popular Love Alive series.	"WAKE UP EVERYBODY," HAROLD MELVIN & THE BLUE NOTES, WAKE UP EVERYBODY (PIR, 1975) One of the more effective message songs of the mid-70s, "Wake Up Everybody" is charmed by its inspiring summons for social and political change - hoping to rid the world of all of its perilous evils. Lead singer Teddy Pendergrass uses his strong gospel roots to lead this disco-favored hit to number one on the R&B charts and 12 pop.	"THERE'S GOT TO BE RAIN IN YOUR LIFE (TO APPRECIATE THE SUNSHINE)," DOROTHY NORWOOD, DOROTHY NORWOOD (GRC, 1974) The unpredictable success of this independently-distributed single speaks volumes of the amazing career of former Caravan Dorothy Norwood. After a few gold-certified albums on Savoy and opening for the Rolling Stones in 1972, Norwood was able to keep her momentum going by releasing this soul-blues-tinged hit. It even landed on the R&B charts at number 21 and opened a greater door of exposure for her.
"JESUS CHILDREN OF AMERICA," STEVIE WONDER, INNERVISIONS (Motown, 1973) Groovy synths layered over socially and spritiually empowering lyrics is the main ingredient found in this dazzling display of gospel funk. Never released as a single, this song - done with the same fervor and tradition of Wonder's "Superstition" and "Higher Ground" - remains one of his strongest gospel offerings.	"PUT YOUR HAND IN THE HAND," SHIRLEY CAESAR, LIVE IN CHICAGO (HOB, 1971) First making rounds with Canadian gospel rock group Ocean in 1970, Caesar got a hold of the song and quickly made it into a funky rhythmic James Brown creation. While covers popped up from artists like Elvis Presley, Anne Murray and Donny Hathaway, Caesar made it an authentic gospel offering and even took home a Grammy in 1971.	"SOON AND VERY SOON," ANDRAE' CROUCH & THE DISCIPLES, THIS IS ANOTHER DAY (Light, 1977) The universal heartwarming nature of this Crouch classic continues to ring out with a loud voice as one of the everlasting modern hymns of the 20th century. With huge doses of thick traditional gospel and an irresistable sing-a-long vibe using quick, catchy verses, the song instantly attracted audiences both black and white.
"EXPRESS YOURSELF," NEW YORK COMMUNITY CHOIR, NEW YORK COMMUNITY CHOIR (RCA, 1985) Unprightly designed for the disco floor, this groove-driven dance favorite earned massive cool points as one of the big underground disco kings in 1978. It was the crossover the choir needed to take their choral arrangements to the top of the charts. Led by Benny Diggs, the choir had previously recorded with with Isaac Douglas and renowned poet Nikki Giovani but leaped into disco-mania with this sweat-infused workout - and done so with a gospel message.	"JESUS, YOU'VE BEEN GOOD TO ME," THE GOSPEL KEYNOTES, REACH OUT (Nashboro, 1975) Nashboro, the dominant quartet label of the South, scored big time with the release of this successful cut; containing a fuzzy blend of Southern soul set to traditional gospel's swooping harmonies. Willie Neal Johnson and Paul Beasley both provide lead vocals on this Marvin Yancy (former wife of jazz/R&B legend Natalie Cole) classic.	"UNTIL I FOUND THE LORD" WALTER HAWKINS & THE LOVE CENTER CHOIR, LOVE ALIVE II (Light, 1978) Both disco-worthy and church-driven, this hearty arrangement finds Walter Hawkins pouring out soulful vocals over a spellbound performance from the Love Center Choir. The killer vamp unexpectedly pops up and drives the song into one repetitive "victory" chant. "I've got the victory, the victory", the choir proclaims. You have to join in and agree after one good listen to this enjoyable track.
"GOD GAVE ME A SONG," INTER- DENOMINATIONAL YOUTH CHOIR, GOD GAVE ME A SONG (Cotillion, 1970) The first brush of success from Myrna Summers came about at the beginning of the decade with "God Gave Me A Song"; a folk-pop song styled with the same contemporary pitch of Hawkins' "Oh Happy Day." Recorded with the Interdenominational Youth Choir of Maryland, the single gave her a Grammy nomination and opened up many doors for her within Cleveland's Gospel Music Workshop. The record was picked up by Atlantic Records for heavy distribution.	"KEEP YOUR HEAD TO THE SKY," EARTH, WIND & FIRE, HEAD TO THE SKY (Columbia, 1973) The lyrics alone point to divine revelation: "He gave me the will to be free/Purpose to live His reality/I found myself never alone/Chances came to make me strong." This uplifting ballad, with its moving and beautifully colored chorus, is a bold testament of EWF's spiritual connections. The song amazingly landed at #23 R&B and #52 pop.	"MARY, DON'T YOU WEEP," ARETHA FRANKLIN, AMAZING GRACE (Atlantic, 1972) Aretha's timeless reworking of this Inez Andrews/Caravans classic is best remembered for it being the powerful entrance to the 1972 double album. The arrangement, designed by Rev. Cleveland, is a mind-blowing journey of soulful harmonies, dramatic movements and Aretha's powerhouse vocals. Who can really escape the sensationalism of this rendition?
"HE DECIDED TO DIE," DONALD VAILS CHORALEERS, DONALD VAILS CHORALEERS (Savoy, 1978) Just the dramatic punctuation of the choir's harmonies alone are enough to set any church service on fire. This Margaret Douroux tune, first introduced by Vails, set the barometer high for stylish choral performances using high-dramatic setups and big choral showcases.	"LOVES ME LIKE A ROCK," PAUL SIMON, THERE GOES RHYMIN' SIMON (Warner Bros., 1973) Pop rock icon drew inspiration from gospel music - proving greatly on songs like "Bridge Over Troubled Waters." He acquires the help of the Dixie Hummingbirds to provide background with him on the moving quartet sounds of "Loves Me Like A Rock." The song is more thank just inspirational - it tells a story of a man evolving in his faith and traces his growth back to his praying mother. The song was a pop smash - flying to number two in 1973.	"DEVOTION," EARTH, WIND & FIRE, OPEN OUR EYES (Columbia, 1974) Way before the iconic Phillip Bailey jumped out to do record a gospel album, he managed to deliver soulful inspiration to the masses along with EWF on this moving lyrical masterpiece. Even though the top 20 R&B hit fell in the category of most message songs of the seventies and easily escapes the definition of gospel with its borderline lyrics, EWF still brings out their best and finest work of encouragement here.
"LORD HELP ME TO HOLD OUT," REV. JAMES CLEVELAND/HAROLD SMITH MAJESTICS, LORD HELP ME TO HOLD OUT (Savoy, 197?) Set to a fiery contemporary beat and guided by Rev. Cleveland's gruffy inflections, "Hold Out" sums up the innovations of soul gospel as it springs forward with passionate harmonies and exciting handclaps toward the end. The Majestics, famed local Detroit choir, made their mark in music history with this memorable classic.	"BE GRATEFUL," WALTER HAWKINS & THE LOVE CENTER CHOIR, LOVE ALIVE II (Light, 1978) This gospel ballad, anchored with Lynette Hawkins-Stephens lead vocals, contains an moody entrance but later launches into an impassioned vamp springing up with feel-good lyrical repeats and Hawkins-Stephens' resounding ad-libs. The song remains a favored fixture on the best-selling Love Alive II LP.	"GOD HAS SMILED ON ME," REV. JAMES CLEVELAND & THE SOUTHERN CALIFORNIA COMMUNITY CHOIR, IN THE GHETTO (Savoy, 1974) Simply scored yet sweetly delivered, Cleveland turns this moving performance into one of the most memorable modern hymns of the seventies. The song has since been covered by artists like Mary Mary, Cyrus Chestnut, the Bolton Brothers and the Godfather of Soul James Brown.
"IF YOU'RE READY (COME GO WITH ME)," STAPLE SINGERS, BE WHAT YOU ARE (Stax, 1973) Using the remnants of their #1 smash "I'll Take You There," the Staples used a prototype that worked and slowed the rhythm down some. The end result gave the group another crowning gem in their collection; charging its way up to #9 pop and #1 R&B. The serenading strings on the song's closing minutes ended up being one of its major highlights.	"YOU'RE THE BEST THING," REV. JAMES CLEVELAND/CHARLES FOLD SINGERS, JESUS IS THE BEST THING THAT EVER HAPPENED TO ME (Savoy, 1975) Cleveland took this Gladys Knight hit and reworked the lyrics into a meaningful sacrifice of praise. Oddly the song's only accompaniment is a very tough piano delivery from Cleveland. You can hear that intensity being translated through Cleveland's stomps on the piano's foot pedals. Not only one of the most emotional performances from the King of Gospel, but one of the most memorable as well.	"JESUS CHRIST IS THE WAY," WALTER HAWKINS & THE HAWKINS FAMILY, JESUS CHRIST IS THE WAY (Light, 1979) Beautifully set up - there's a pop ballad approach delivered in the beginning and then comes the stirring and anchoring chorus that bears an invincible covering. But the classically-tinged tag edifies the song into a wonderful musical odyssey.
"I BELONG TO YOU," RANCE ALLEN GROUP, STRAIGHT FROM THE HEART (Stax, 1978) Way after Stax's bankruptcy, the Rance Allen Group delivered yet another highlight for Stax through their new association with Fantasy Records. This time around, "I Belong To You" features a cool R&B vibe with a serene California-styled sweetness glossed with sweet horns and doo-wop harmonies. The song remains one of the big Rance Allen hits and also landed on the R&B charts at number 24.	"TAKE ME BACK," ANDRAE' CROUCH , TAKE ME BACK (Light, 1975) The pop flavor of Crouch's production style couldn't drown out the intense nature of "Take Me Back's" lyrics. The song tells of the joys one encounters on that first day of salvation and the burning desire to return to that moment in time. No wonder the song. one of Crouch's early compositions, stood the test of time as one of his enduring classics.	"I DON'T FEEL NOWAYS TIRED," REV. JAMES CLEVELAND/SALEM INSPIRATIONAL CHOIR , I DON'T FEEL NOWAYS TIRED (Savoy, 1978) The Omaha, Nebraska church choir is in good hands with the King of Gospel. Of course, Cleveland uses his gospel mastery to perfect this powerful testimony of determination into a fine work of art. But the overwhelming energy from the choir and powerful ad-libs used here are far from plain. Keith Pringle makes a short, but delightful guest apperance here.
"GOIN' UP YONDER," WALTER HAWKINS & THE LOVE CENTER CHOIR, LOVE ALIVE (Light, 1975) The highly recognized hit of the best-selling Love Alive LP remains "Goin' Up Yonder." Led by Tramaine Hawkins, the song parades around an innocent melody and robust choral deliveries from the Love Center Choir. The song's call-and-response system, set up by Hawkins' phrase (If you wanna know where I'm going...) gets a proud, exuberant response from the choir (...I'm going up yonder...to be with my Lord). The album version, in its completition, is almost ten minutes long.	"LORD DON'T MOVE THAT MOUNTAIN," INEZ ANDREWS, LORD DON'T MOVE THAT MOUNTAIN (Song Bird/Peacock/ABC, 1972)The gutsy Southern blues of this big hit from Inez Andrews - set to lyrics dipped in weariness - elevated traditional gospel to a new stratosphere of acceptance. The phenemenon that circulates this Top 40 R&B hit is still mind-blowing. The song has endured as an underground cult classic and stands strong as one of the dominant traditional hymns of modern gospel.	"RESPECT YOURSELF," STAPLE SINGERS, BE ALTITUDE: RESPECT YOURSELF (Stax, 1972) "If you don't respect yo'sef, ain't nobody gonna give a good ca-hoot." Those infamous words ring aloud as the Staples bring an edgy, preachy overtone to the charging protest song. It's almost as if the gospel group got ordained to preach from the Stax pulpit just to get the country back together. The song's crossover appeal, connected to rich gospel textures, pushed the song to number 12 pop and 2 R&B.
"HOW I GOT OVER," ARETHA FRANKLIN, AMAZING GRACE (Atlanticl, 1972) Lady Soul easily jumps into thischoir rockin' arrangement of the popular Clara Ward hit. What is so tantalizing about this moment in gospel history is how Ward's influence on a very young Aretha becomes so apparent through her gospel-rooted sqwaking and high-volt deliveries. No other arrangement of this Herbert Brewster composition comes as close to being as theatric and melodic as Aretha's version.	"MIGHTY HIGH," MIGHTY CLOUDS OF JOY, KICKIN' (ABC, 1975) No doubt, the Clouds cashed in on the disco inferno with this infectious, foot-on-the-floor rhythmic cut. Secular lovers easily embraced the song - sadly thinking it was associated with narcotic usage. But the mighty high in question is refering to the Most High; something lead vocalist Joe Ligon struggled with but later approved of. The session players on board are from Sigma Studios (Gamble & Huff). The resulting product, a top ten disco hit, is an incredible achievement for the advancement of gospel music.	"MY TRIBUTE," ANDRAE' CROUCH & THE DISCIPLES, KEEP ON SINGIN' (Light, 1975) Becoming one of Crouch's best loved soul anthems ever, "My Tribute (To God Be The Glory" earned a quick reputation for possessing core value of modern rock and lyrical organization of pop tunes from its time. Remarkably, the song has become one of the greatest gospel songs ever composed - almost matching the timeless contributions of Dorsey's "Precious Lord" since it clearly paved a way for what would later be known to be as contemporary Christian music.
"CHANGED" WALTER HAWKINS & THE LOVE CENTER CHOIR, LOVE ALIVE (Light, 1975) This beautifully-arranged ballad, soaked in a rich poetic lather and a timeless musical arrangement, is serenaded by Tramaine Hawkins' blessed register and a moving vamp that transcends most emotional ballads. Choirs all over found great refuge in reduplicating the magnificent wonders of this song and yet remains a prominent staple in African-American churches today. Definitely the highlight of Hawkins' best-selling Love Alive LP.	"I'LL TAKE YOU THERE," STAPLE SINGERS, BE ALTITUDE: RESPECT YOURSELF (Stax, 1972) One can easily recognize this tune just from the first four guitar notes. This #1 pop/R&B hit, enforced by its contagious groove and very simple and memorable lyrics, remains the Staples' greatest accomplishment and one of the most recognized and cherished gospel songs in the eyes of most music lovers. The song was the only gospel song to be ranked on Rolling Stones's 500 Greatest Songs of All Time (#276).

OTHER VALUABLE RESOURCES TO LOOK INTO:
We perish because of the lack of knowledge. Get schooled.
Gospel 101: 80's Countdown - The fifty greatest gospel songs of the 1980s. Designed by PRAYZEHYMNOnline.com..
Gospel 101: Church Directory - The exclusive online directory to churches and ministries in the U.S that feature respected music ministries bearing the sounds of Gospel music. Includes church name, web links, location and pastor's name.
Gospel 101: The Official Gospel Timeline - Go back in time. From the birth of Gospel music to its present. Including dates, time periods, detailed information and coverage on multiple important subjects related to the Gospel music genre.
Gospel 101: PRAYZEHYMN's MIA's - Another hearty PRAYZEHYMN Exclusive. This extension of the Gospel's Church Directory focuses on some of the most energetic and charismatic churches across America that features outstanding music ministries. Check it out.