Chapter 12: Gospel, Blues and R&B
As we saw in the previous chapter, vocal harmony groups played a vital role in shaping American popular music, bridging traditions of folk, gospel, jazz, and pop through coordinated vocal arrangements. Before World War II, these groups drew from a broad and eclectic repertoire that included spirituals, folk songs, Tin Pan Alley hits, Broadway show tunes, and gospel music. Typically composed of four singers, many of these ensembles rotated lead vocal responsibilities, allowing for dynamic interplay between vocal registers and a rich palette of melodic variation, call and response, and harmonic texture. However, as discussed in our earlier analysis of the Ink Spots and the Golden Gate Quartet, Black vocal groups often developed distinct stylistic approaches that set them apart from their white counterparts.
After World War II, vocal harmony groups remained popular, but the style began to evolve. In the postwar years, these ensembles were often referred to as "street corner groups" due to their visible presence in African American urban neighborhoods. Young singers practiced harmonies in public spaces such as stoops, parks, street corners, and school gyms. These groups built on the traditions of gospel quartets and jazz vocal groups, but added a youthful energy and informal performance style that reflected the do-it-yourself spirit of postwar American cities.
One hallmark of early vocal harmony groups was their ability to imitate instrumental timbres using only their voices. This technique gave their performances the depth and richness of a small ensemble without the need for instrumental accompaniment. Groups such as the Mills Brothers, the Ink Spots, and the Golden Gate Quartet pioneered this approach, gaining broad popularity and crossing racial boundaries through recordings on major labels and appearances in high-profile venues. Although their repertoires often included both sacred and secular material, record labels frequently encouraged them to perform more pop-oriented songs to attract racially diverse audiences.
Postwar vocal harmony groups frequently incorporated jazz and blues harmonies, flexible vocal ranges, and featured bass singers or baritones as occasional leads. Their songs often followed verse-chorus forms, with complex harmonic layering used to build intensity in the final verse or outro.
Groups such as The Ravens and The Orioles exemplified this transition. The Ravens stood out by featuring their bass singer in the lead role, a shift from the more typical use of high tenors. The Orioles took a different approach, often alternating lead vocals between baritone and tenor, which added emotional nuance and variety to their performances. These innovations expanded the expressive possibilities of vocal group singing and helped shape the emerging style that would later be known as doo-wop.
By exploring new vocal arrangements and blending gospel-influenced harmonies with secular themes, these groups laid important groundwork for the vocal-driven pop and rhythm and blues styles that would flourish in the 1950s. While instrumental backing in postwar popular music became increasingly sophisticated, with greater use of electric guitar, drums, and bass, these vocal groups continued to emphasize the human voice as the primary vehicle for musical expression.
Their presence in multiple settings such as in the church, on recordings, in nightclubs, or on street corners reflected the dynamic cultural shifts of mid-century America. Vocal harmony groups blended older traditions with modern sensibilities, offering a musical language that resonated with audiences navigating rapid changes in urban life, race relations, and popular culture.