The Gospel Truth Records launched in the early 1970s as an imprint aimed at expanding Stax Records’ reach into the pews of African American churches. Unlike many Black gospel labels that adhered to traditional sounds, The Gospel Truth embraced the contemporary vibes of so-called Chocolate Cities across America, fusing R&B and rock with the message of “The Good Book.” The label created a hybrid that spoke to both spiritual and worldly concerns, led by a talented team including Dave Clark and Mary Peak Patterson, who were instrumental in bringing gospel music to new audiences while preserving its deep roots in African American culture.

Craft Recordings honors this legacy with a meticulously curated collection of all 34 singles issued by The Gospel Truth Records between 1972 and 1974, titled The Gospel Truth: The Complete Singles Collection. Available on both CD and vinyl, this compilation offers listeners a glimpse into a transformative period in gospel music, reflecting the label’s innovative spirit. The packaging features a striking illustration of a church rendered in stark, contrasting colors, evoking the down-home imagery often associated with the music in this collection. This design perfectly captures the blend of sacred and secular elements that define The Gospel Truth’s sound. The collection also includes liner notes by Memphis-based journalist and radio DJ Jared Boyd, offering insights into the label’s history and key figures.

As if setting the tone for the entire compilation, the collection begins with The Rance Allen Group’s “Just My Imagination (Just My Salvation),” a reimagining of The Temptations’ hit, redirecting its lyrics toward the divine. Yet it’s the following track, “Up Above My Head,” that truly establishes Allen as the standout star of this box set, much as he was for the label. The high-energy track showcases Rance Allen’s electrifying falsetto and rocking guitar work, injecting the song—and many others in the collection—with a contagious energy that immediately captivates listeners.

The collection then eases into the more traditional gospel sounds of the Terry Lynn Community Choir with “His Love Will Always Be” and “Consider Me.” Grounded in spiritual roots and enriched by swelling pianos and organs, these tracks provide a balanced contrast to the more forward-leaning material that became the label’s hallmark without feeling too preachy for the lively spirit embodied by other artists on the roster.

Reverend W. Bernard Avant Jr. and The St. James Gospel Choir continue the journey with a sanctified reworking of the popular soul standard “Don’t Let the Green Grass Fool You (Don’t Let the Devil Fool You)” and “God Is What You Let Him Be.” Avant’s Southern gospel roots shine through, yet these recordings are polished with a contemporary edge, aligning perfectly with the label’s mission to blend tradition with modernity.

As the collection progresses, The Rance Allen Group returns with “There’s Gonna Be a Showdown,” a vibrant reinterpretation of Archie Bell & the Drells’ rhythm and blues hit. Allen’s vocal prowess reaches new heights, with showmanship that nearly defies the limits of gospel music. Meanwhile, Reverend Maceo Woods and The Christian Tabernacle Concert Choir bring forth “The Magnificent Sanctuary Band (Marching For the Man),” a military-inspired, blues-infused gospel number that underscores the practical and spiritual benefits of service to Christ.

Flipping the record over, listeners find siblings Charles May & Annette May Thomas delivering the heartfelt “Keep My Baby Warm,” a track that moves away from scripture to focus on the personal and inspirational, sung from a mother’s perspective as she seeks to guide her son through spirituality. Similarly, Joshie Joe Armstead’s “Ride Out the Storm” is a hopeful anthem of resilience, emphasizing faith as an anchor during turbulent times.

The 21st Century’s “Who’s Supposed to Be Raising Who” marks the collection’s first foray into pure funk, with syncopated rhythms, sharp vocals, and driving bass lines that evoke the street-corner preaching of urban life. This track reflects the social consciousness embedded in much of the label’s output, using gospel music as a platform to address pressing community issues.

As the collection nears its conclusion, listeners are treated to the deep, rich tones of Jimmy Jones on “Do It Yourself” and “If I Had a Hammer.” Jones’ velvety voice offers a reflective, mid-tempo approach that contrasts sharply with Rance Allen’s high-energy, tightrope tenor, providing a moment of introspection within the collection.

One of the most intriguing entries in the collection is Blue Aquarius, a band far removed from traditional gospel roots. Connected to the Divine Light Mission, this massive ensemble, complete with a brass section, performed odes to their then-teenaged spiritual leader Prem Rawat at large assemblies, including a notable event in Houston, Texas, in 1973. Their tracks, “At the Feet of the Master” and “Know Him While You Can,” bring a new-age spiritual element to the collection, showcasing The Gospel Truth’s willingness to explore diverse spiritual expressions.

Louise McCord closes the collection with “Reflections” and “There’s No Need to Cry,” blending traditional gospel with modern sounds while honoring the legacy of Mahalia Jackson and forging her own path. These final tracks leave listeners with a sense of both the richness of the past and the possibilities of gospel’s future, as echoes of The Gospel Truth lay the foundation for future, generational stars, such as Fred Hammond, Kirk Franklin, Mary Mary, and many others who have struck a balance between sanctified sounds and contemporary urban trends.

By Jared Boyd