Jubilee Hummingbirds - Gospel Express

Jubilee Hummingbirds - Gospel ExpressJubilee Hummingbirds Gospel Express Despite being one of Memphiss most long running, prolific and popular gospel groups, the Jubilee Hummingbirds story remains largely unwritten. Early members O. V. Wright and James Carr both of whom crossed over into secular music while singing with them have guaranteed their mention in soul circles, but for a group with such a presence in their home city, and a generous multi label discography that began on wax in

Jubilee Hummingbirds - Gospel Express

Despite being one of Memphis’s most long-running, prolific and popular gospel groups, the Jubilee Hummingbirds’ story remains largely unwritten. Early members O.V. Wright and James Carr — both of whom crossed over into secular music while singing with them — have guaranteed their mention in soul circles, but for a group with such a presence in their home city, and a generous multi-label discography that began on wax in the mid-sixties and continues to this day, the Hummingbirds are a living, breathing example of the ever-present-yet-invisible place that gospel music can occupy by its very design. Their 1983 Gospel Express LP was just one chapter in the rich history of the Jubilee Hummingbirds, but a significant one that deserves a deep focus. They were a little over halfway through their eighty-four-years-and-counting history when these recordings were made and they’re still singing today, now under the leadership of William "Redd" Watson. In 1983, shortly after Watson joined the group — and with the aforementioned labels either winding up or slowing down their releases — the Birds landed on Bishop Bobby King’s Gospel Express imprint. The vinyl-hustling enigma behind such street-level setups as Hub-City and Home-Boys, King was a ghetto gospel impresario who went by so many different names that much of his activity is still a mystery. Aside from inspiring music, King’s calling card was the cut-and-paste album cover, which was almost ahead-of-its-time — at least in his hands — in its crudely-collaged aesthetic. Despite the modest original release, Gospel Express debut had no title, but sold well at programs and is being given a second lease on life here.