Old Black Gospel Music on YouTube

This article is a collaborative effort, crafted and edited by a team of dedicated professionals.

Contributors: Andranick Tanguiane, Fred Lerdahl,


Looking for some old-school gospel music to help get you through the day? Look no further than YouTube! There are tons of great old black gospel music videos available to watch for free. So take a break from whatever you’re doing and enjoy some of the best gospel music around.


YouTube offers a wide variety ofBlack Gospel music videos. You can find everything from traditional choirs to contemporary groups singing about their faith. There are also solos and duets, as well as interviews and commentary from producers, musicians and everyday people about the music that has shaped their lives.

The History of Old Black Gospel Music

Old black gospel music has its roots in the African-American churches of the late 19th and early 20th centuries. The music was a way for the people to express their joy and praise to God. This type of music was later called gospel music because it was based on the gospel message.

Origins in African American Spirituals

African American spirituals are Christian songs that were created by African Americans in the United States. Spirituals were originally part of religious services, but they later became part of concerts, recordings, and theater performances.

African American spirituals typically have a call and response structure, with a soloist singing a line and the rest of the choir or congregation responding. The soloist might sing a line of scripture, and the rest of the group would respond with a phrase such as “glory Hallelujah” or “Amen.”

Spirituals often incorporate elements from work songs, nursery rhymes, and folk tunes. Some spirituals are based on hymns that were created by white composers, but many are original compositions.

The first spirituals were created in the 18th century, but the genre continued to evolve in the 19th and 20th centuries. Spirituals were an important part of the civil rights movement in the 1960s, and they continue to be performed today.

The Rise of Gospel Quartets

In the late 1920s and early 1930s, gospel music began to take on a new form with the rise of gospel quartets. These groups were usually made up of four male singers who would sing in close harmony, often without accompaniment. Gospel quartets became very popular, especially in the American South, and they helped to spread the gospel message through their music.

One of the most popular gospel quartets of the time was the Dixie Hummingbirds, who were formed in 1928. The Dixie Hummingbirds were known for their intricate harmonies and their ability to sing in a wide range of styles, from blues to R&B. They influenced many other gospel quartets that came after them, including the Soul Stirrers and the Fairfield Four.

Gospel quartets continued to be popular throughout the 1940s and 1950s, and many famous gospel singers got their start singing in quartets. Sam Cooke was a member of the Soul Stirrers before launching his successful career as a secular R&B singer. James Cleveland was a member of the Fairfield Four before becoming one of the most important figures in contemporary gospel music.

Quartet singing is still an important part of gospel music today, and there are many active quartets performing both traditional and contemporary gospel music. The Blind Boys of Alabama are one of the most well-known contemporary gospelquartets, and they have won multiple Grammy Awards for their work.

The Influence of Mahalia Jackson

Mahalia Jackson was one of the most influential gospel singers of all time. Her renditions of spirituals and hymns helped shape the sound and style of black gospel music.

Born in New Orleans in 1911, Jackson began singing in church choirs at an early age. She quickly gained attention for her powerful voice and soulful interpretations of religious songs. In the 1930s, she relocated to Chicago, where she joined the Thomas Dorsey-led combined choir of Mount Herman Baptist Church and Pilgrim Baptist Church.

Jackson’s first recordings were made with Dorsey’s group in the early 1940s. These songs, including “Move On Up a Little Higher” and “God Shall Wipe All Tears Away,” became gospel hits and helped to establish Jackson as one of the leading figures in the genre. In the 1950s, she began appearing on television and touring internationally, sharing her music with wider audiences.

Jackson continued to record and perform throughout her life, gaining further fame in the 1960s with hits like “Take My Hand, Precious Lord” and “How I Got Over.” She died in 1972 at the age of 60, but her music continues to impact listeners around the world.

The Resurgence of Old Black Gospel Music

There’s something special about old black gospel music. It’s a genre that has a rich history and is resurging in popularity today. Many people grew up listening to old black gospel music and it holds a special place in their hearts. In this article, we’ll take a look at the resurgence of old black gospel music and why it’s so popular.

The Gospel Music Revival of the 1970s

African Americans have always had a strong presence in the world of gospel music. In the 1970s, however, there was a particular resurgence of old black gospel music that helped to bring the genre back into the mainstream. This revival was spurred on by a number of factors, including the Civil Rights movement, the rise of disco, and the popularity of soul and R&B music.

During this decade, many famous gospel singers emerged, including James Cleveland, Shirley Caesar, and Albertina Walker. These artists helped to popularize gospel music with both black and white audiences. They also helped to break down barriers between different denominations and styles of gospel music. As a result of this revival, old black gospel music is once again one of the most popular genres within the African American community.

The Gospel Music Renaissance of the 1990s

During the 1990s, there was a resurgence of old-time black gospel music, spearheaded by return to more traditional instrumentation and vocal styles. This “old black gospel” music had been eclipsed since the 1970s by a new breed of artists influenced by contemporary styles such as soul and funk. However, during the 1990s, a number of factors contributed to a renewed interest in this traditional style of music.

One factor was the growing popularity of “gospel choirs” in churches across America. These choirs often performed traditional black gospel songs, giving them new exposure to younger generations of churchgoers. In addition, the rise of “gospel rap” artists such as Kirk Franklin and DC Talk helped to introduce old-time black gospel sounds to a new audience.

Finally, the release of several compilations of classic black gospel recordings, such as The Gospel at Colonus and Oh Happy Day!, attracted attention from music fans who were curious about this musical style. As a result of all these factors, old-time black gospel music experienced a revival during the 1990s.

The New Wave of Gospel Music Artists

The new wave of Gospel music artists are bringing the sound and feeling of old black Gospel music to a new generation of fans. These artists are using YouTube and other social media platforms to reach a wider audience and to promote their music.

Gospel music has always been a source of inspiration and hope for black people. It is a genre that is steeped in history and has always been an important part of the black community. Gospel music has evolved over the years, but the message remains the same: faith, hope, and love.

The new wave of Gospel music artists are bringing fresh energy and perspectives to the genre. They are expanding the sound of Gospel music and reaching new audiences with their music.

The following are some of the most popular new Gospel artists:

-Koryn Hawthorne
-Tasha Cobbs Leonard
-Todd Dulaney
-Jekalyn Carr
-Kirk Franklin


There are many great old black gospel YouTube channels to explore. Each one offers something unique and special. Spend some time browsing through them and you’re sure to find some hidden gems.

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