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Key Information

Marie Knight (née Roach; June 1, 1920 – August 30, 2009)[1] was an American gospel and rhythm and blues (R&B) singer.

Personal life

[edit]

She was born Marie Roach'[2] in 1920,[3][1] though she claimed to have been born in 1925.[4] Sources differ as to her place of birth – either Attapulgus, Georgia,[1] or Sanford, Florida[5] – but she grew up in Newark, New Jersey. Her father was a construction worker and her family were members of the Church of God in Christ.[2] She first toured as a singer in 1939 with Frances Robinson, an evangelist. She married preacher Albert Knight in 1941, but the union ended in divorce. While she was touring with Sister Rosetta in the 1940s, her two children died in a fire at her mother's house in New Jersey.[2][3] Knight died in Harlem of complications from pneumonia, on August 30, 2009, aged 89. She was survived by a sister, Bernice Henry.[3]

Musical career

[edit]

In 1946, Knight made her first recordings, for Haven Records, with the masters soon purchased by Signature Records,[6] as a member of the Sunset Four (or the Sunset Jubilee Singers). Shortly afterwards, Sister Rosetta Tharpe]] saw her singing at the Golden Gate Auditorium in Harlem, on a bill with Mahalia Jackson, and invited Knight to join her on tour.[2] Tharpe recognized "something special" in Marie's contralto voice.[3]

She continued to record and perform with Tharpe through the 1940s, sometimes acting out the parts of "the Saint and the Sinner", with Tharpe as the saint and Knight as the sinner.[2] Among their successes were the songs "Beams of Heaven", "Didn't It Rain", and "Up Above My Head", recorded for Decca Records. "Up Above My Head", credited jointly to both singers, reached number six on the US R&B chart at the end of 1948, and Knight's solo version of "Gospel Train" reached number nine on the R&B chart in 1949.[7]

She left Tharpe to go solo around 1951, and put together a backing group, the Millionaires (Thomasina Stewart, Eleonore King and Roberta Jones), with whom she recorded the 1956 album Songs of the Gospel.[2] She began recording secular R&B music in the late 1950s, for various labels, including Decca, Mercury, and Okeh. Her duet with Rex Garvin, credited as Marie and Rex, "I Can't Sit Down" released on the Carlton label, reached number 94 on the pop chart in 1959.[8][9] In the late 1950s, she also toured Britain as a guest of Humphrey Lyttelton.[2]

In 1961, she recorded the single "Come Tomorrow", which was later a hit for Manfred Mann.[10] Knight's version of "Cry Me a River" reached number 35 on the U.S. Billboard R&B charts in 1965.[11]

She toured with Brook Benton, the Drifters, and Clyde McPhatter, and regularly reunited onstage with Tharpe.[3] She remained friends with Tharpe, and helped arrange her funeral in 1973. In 1975, having given up performing secular music, she recorded another gospel album, Marie Knight: Today. In 2002, Knight made a comeback in the gospel world, recording for a tribute album to Tharpe. She released a full-length album, Let Us Get Together, on her manager's label in 2007.[2]

Discography

[edit]

As a solo artist

[edit]
Year Song Publisher & Number
1946 Just a closer walk with thee / The land beyond the river (as Sister Marie Knight) Signature 32008
When I get to the end of my journey / What could I do (as Sister Marie Knight) Signature 32009
1947 Just a closer walk with Thee / The land beyond the river Haven 516
The end of my journey / What could I do Haven 517
ca. 1947 Misery blues[6] RCA Victor 22-0073
Rock with it[6] RCA Victor 22-0073
1949 I'll let nothing separate me... / Where could I go bu to the Lord (as Sister Marie Knight) Candy 4001
I'll never turn back no more / The Lord will make a way Candy 4002
Today / Something within me banishes pain Candy 4003
Just a closer walk with Thee / The land beyond the river Candy 4004
The end of my journey / What could I do Candy 4010
1950 Jesus loves me / Whispering hope Decca 48128
1951 I heard my mother pray / Don't miss that train Decca 48198
Satisfied with Jesus / The old rugged cross Decca 48219
Every day every hour / My expectations Decca 48233
On the battlefield / I'll fly away Decca 48253
Adeste fideles (O, come all ye faithful) / It came upon the midnight clear Decca 48262
1952 Sit down servant / Does Jesus care Decca 48285
1953 Jesus walk with me / Get away Jordan Decca 28545
I just can't keep from cryin' / On my appointed time Decca 48298
Let go his hand / Let's go on Decca 48301
1954 Calvary / God spoke to me Decca 48308
This old soul of mine / I tell it wherever I go Decca 48320
I'm troubled / Stop now, it's praying time Decca 48326
Trouble in mind / What more can I do Decca 48327
1955 Who rolled the stone away / Easter bells Decca 48333
The battle of Jericho / A traveler's tune Decca 48334
I must tell Jesus / The storm is passing over Decca 48336
1956 Stand by me / Blessed be the Lord Mercury 70904
Grasshopper baby / Look at me Mercury 70969
1960 Hope you won't hold it against me / To be loved by you Addit 1016
Sylvia / Come tomorrow CDKEND 212 (2002)
1961 Come tomorrow / Nothing in the world Okeh 4-7141
1962 Come on naby (Hold my hand) / What kind of fool (do you think I am) Okeh 4-7147
1963 I was born again / I don't wanna walk alone Diamond 136
The nearness of you / Walk away Diamond 149
1964 Make yourself at home / I was born again Diamond 171
Comes the night / Cry me a river Musicor 1076
That's no way to treat a girl / Say it again Musicor 1106
That's no way to treat a girl Kent 024 (2002)
A little too lonely / You lie so well Musicor 1128
1965 Come tomorrow / Nothing in the world Okeh 4-7218

With other artists

[edit]
Artist Year Song Publisher & No.
The Sunset Four (aka Sunset Jubilee Singers) 1946 If I could just make it in / Where shall I go Signature 32004
I'll let nothing separate me... / I just couldn't keep it to myself Signature 32005
I just couldn't keep it to myself / The Negro national anthem Haven 501
Negro national anthem / Where could I go but to the Lord Signature 32006
I'll let nothing separate me... / Where could I go Haven 502
The Lord will make a way / I'll never turn back no more Signature 32007
I'll never turn back no more / The Lord will make a way Haven 503
Today / Something within me banishes pain Haven 504
1949 The Negro national anthem / I just couldn't keep it to myself Candy 4000
Sam Price Trio 1948 What could I do / I must see Jesus Decca 48072
The land beyond the river / My heavenly father watches over me Decca 48084
1949 I can't forget it, can you / Up in my heavenly home Decca 48102
I must have Jesus all the time / I thank you Jesus Decca 48120
1950 Live the life / Seal of heaven Decca 48147
Lord search my heart / In shaded green pastures Decca 48173
The Florida storm / Hallelujah what a storm Decca 48189
Sister Rosetta Tharpe, Sam Price Trio 1947 Oh when I come to the end of my journey / This train Decca 48043
Stretch out / Didn't it rain Decca 48054
1948 Beams of heaven / Precious memories Decca 48070
Up above my head I hear music in the air / My journey to the sky Decca 48090
1951 Milky white way / His eye is on the sparrow Decca 48227
Sister Rosetta Tharpe 1949 He watches me / He's all I need Decca 48098
1950 I shall know him / I was healed Decca 48194
1952 There is a highway to heaven / I'm bound for higher grounds Decca 28509
Old landmark / Pressing on Decca 9-28625
1954 Nobody's fault but mine / Shadrack Decca 48309
Georgia Peach 1946 I just rose to tell you / Today Signature 32024
The Dependable Boys, Sam Price Trio 1949 Gospel train / Behold his face Decca 48092
Vivian Cooper, Sam Price Trio 1949 Out of the depth / Touch me Lord Jesus Decca 48111
"Jersey Joe" Walcott 1950 Have faith / Say a little prayer Decca 14594
The Anita Kerr Sisters 1952 Wildwood / He's my light Decca 28128
The Nightingales 1953 The old rugged cross / Satisfied with Jesus Brunswick 05071
Leroy Kirkland and his Orchestra 1954 You got a way of making love / I know every move you make Decca 48315
The Griffins 1956 As long as I love / Tell me why Wing 90069
The Millionaires 1956 Sings the gospel (LP)[12] Mercury MG 20196
The Howard Biggs Orchestra 1957 I'm a little fooler / Am I reaching for the moon Mercury 71055
Teacho Wiltshire Orchestra 1958 I thought I told you not to tell them / September song Baton 253
Rex Garvin 1959 I can't sit down / Miracles Carlton 502
Junior Lewis 1960 Better Wait And See CDKEND 212 (2002)
  • 1975 Blues Alliance 257004 - Today LP
  • 2001 Westside - Bluesoul Belles Vol. 4: Scepter & Musicor Recordings (Compilation; Judy Clay, Marie Knight)
  • 2002 Gospel Friend - Hallelujah What a Song (Compilation)
  • 2007 M. C. Records MC-0058 - Let Us Get Together LP

References

[edit]

Grokipedia

Marie Knight

View on Grokipedia
from Grokipedia
Marie Knight (June 1, 1920 – August 30, 2009) was an American gospel and rhythm and blues singer renowned for her powerful contralto voice and her influential partnership with guitarist Sister Rosetta Tharpe in the 1940s.[1] Born Marie Roach in either Attapulgus, Georgia, or Sanford, Florida, she grew up in Newark, New Jersey, where she discovered her vocal talent singing in her church's youth choir and taught herself piano as a child.[1][2] Knight began her professional career in the mid-1940s, touring the national gospel circuit with evangelist Frances Robinson before joining Tharpe in 1946 to form a dynamic duo that blended gospel fervor with emerging rhythm and blues elements.[3] Their collaboration produced landmark recordings for Decca Records, including the hits "Up Above My Head" (No. 6 on the R&B chart in 1948) and "Didn't It Rain", which showcased Knight's emotive delivery and helped bridge sacred and secular music genres.[1][4] Knight transitioned to a solo R&B career in the 1950s, achieving success with singles like "Tell Me Why" (1956) and later collaborating with artists such as Brook Benton, the Drifters, and Clyde McPhatter. She remained close with Tharpe and arranged her funeral after Tharpe's death in 1973.[2][1] In the mid-1970s, Knight returned to her gospel roots, releasing albums like Marie Knight: Today (1976) and serving as a minister at Gates of Prayer Church in Harlem.[3] Her late-career resurgence in the 2000s included the tribute album Shout, Sister, Shout!: A Tribute to Sister Rosetta Tharpe (2003) and Let Us Get Together (2007), a homage to Rev. Gary Davis, cementing her legacy as a pivotal figure in 20th-century American music.[4][1] Knight died in Harlem from complications of pneumonia at age 89, survived by her sister Bernice Henry.[2]

Early life

Birth and upbringing

Marie Knight was born Marie Roach on June 1, 1920, though she herself claimed the year 1925 and some records support that date.[2][1] Sources differ on her birthplace, citing either Attapulgus, Georgia, or Sanford, Florida.[1] Her family relocated from the South to Newark, New Jersey, where she spent her formative years. Knight's father worked as a construction worker, and her parents were devout members of the Church of God in Christ, instilling a strong religious foundation in the household. She had a sister, Bernice Henry, who outlived her.[1][2] Knight's childhood unfolded amid the vibrant African American community of Newark, where church environments played a central role in shaping her cultural context. As a young child in Newark, she participated in her family's church activities, including youth choir programs that exposed her to communal worship and spiritual traditions.[2][4] Her early immersion in these settings in Newark fostered a deep connection to gospel culture from an early age.[2]

Initial musical influences

Marie Knight's initial musical influences were deeply rooted in the vibrant gospel traditions of the African American Pentecostal community in Newark, New Jersey, where she grew up during the 1930s.[2] As a child, she immersed herself in the Church of God in Christ, a denomination known for its energetic worship services featuring spirited choral singing and improvisational solos that blended spiritual fervor with rhythmic intensity.[2] Her family, originally from the South, had settled in Newark, and the church's youth choir became her first musical home, exposing her to traditional gospel styles characterized by call-and-response patterns and emotive delivery that echoed the era's burgeoning gospel movement.[1] At age 5, she impressed the congregation at her parents' church by singing "Doing All the Good We Can."[4] By her early teens, Knight was performing solos in church services, often standing on a table to reach the congregation, which ignited her passion for singing as a means of communal expression and personal exaltation.[2] She taught herself piano to accompany these performances, drawing from the raw, unpolished sounds of local Newark choirs that emphasized testimony through song. These experiences in the 1930s shaped her vocal style, fostering a powerful, versatile voice suited to both heartfelt ballads and exuberant shouts, hallmarks of Pentecostal gospel. While Newark remained her primary base, the interconnected gospel networks of the time occasionally brought her into contact with broader scenes during the Great Migration era.[1] Around age 19, in 1939, Knight made the pivotal decision to pursue singing professionally, joining evangelist Frances Robinson on a national gospel tour that exposed her to diverse regional styles and performers.[1] This step marked her transition from informal church settings to structured performances, influenced by no formal training but by the informal mentorship of church elders and the electrifying atmosphere of live gospel gatherings. She encountered Mahalia Jackson onstage in Harlem in 1946, further reinforcing her gospel foundations and highlighting the potential for gospel to transcend local boundaries.[2]

Musical career

Early gospel work

Knight's entry into professional gospel music occurred in 1939, when, at the age of 19, she began touring with evangelist Frances Robinson across the national gospel circuit. These tours involved performances in churches, tent revivals, and other venues, where Knight sang as part of Robinson's ensemble, gaining exposure to diverse audiences in the burgeoning gospel scene.[5] During this period, Knight honed her contralto voice, known for its rich, room-filling depth that became a hallmark of her gospel style. She had taught herself piano as a child by practicing one note at a time on church instruments, and these self-taught skills continued to develop through the demands of live performances on the road, allowing her to accompany herself and others effectively.[2][5] Knight's first recordings came in 1946, when she joined the male gospel quartet the Sunset Four for sessions on the small Haven label, with masters later acquired by Signature Records. The group cut tracks such as "I'll Let Nothing Separate Me from the Love of God" and "Where Could I Go but to the Lord," showcasing Knight's lead vocals backed by the quartet's harmonies in a traditional gospel arrangement. These early sides marked her debut on wax and highlighted the maturation of her vocal and musical abilities forged during years of touring.[6]

Partnership with Sister Rosetta Tharpe

In 1946, Sister Rosetta Tharpe attended a concert in Harlem headlined by Mahalia Jackson where she heard young gospel singer Marie Knight. Impressed by Knight's powerful voice and stage presence, Tharpe visited Knight at her home in Newark, New Jersey, two weeks later and invited her to join her act as a duet partner. This chance meeting marked the beginning of a significant collaboration, with Knight quickly integrating into Tharpe's performances and recordings under Tharpe's existing Decca Records contract.[4][7][3] The duo's recordings for Decca captured their harmonious interplay, blending Tharpe's energetic guitar riffs and improvisational style with Knight's clear, emotive vocals. Key hits from this period included "Didn't It Rain" in 1947, a lively spiritual that showcased their call-and-response dynamics, and "Up Above My Head" in 1948, which peaked at number six on the R&B charts and highlighted their ability to infuse gospel with rhythmic drive. Knight also released the solo single "Gospel Train" in 1949, reaching number nine on the R&B charts, further demonstrating the commercial momentum of their joint era. These tracks not only achieved crossover success but also exemplified the duo's innovative fusion of traditional gospel fervor with emerging R&B swing and blues inflections.[8][7][4] Throughout the late 1940s, Tharpe and Knight toured extensively across the United States, performing in diverse venues such as churches, auditoriums, arenas, and clubs, often backed by the vocal group the Rosettes and traveling in Tharpe's customized bus. Their stage dynamics were electric, with the pair trading vocal lines in a jazz-like agility that energized audiences and created a sense of communal uplift, often described as "raise-the-roof" gospel energy. Despite the rigors of road travel—which Knight later recalled as "rough"—their performances were "beautiful," drawing large crowds and bridging sacred music traditions with secular appeal through upbeat tempos and improvisational flair that anticipated rock and roll's vitality. This partnership propelled Knight's career from regional gospel circuits to national prominence, establishing her as a key figure in the evolving sound of postwar American music.[4][7][8]

Solo recordings and R&B transition

In 1951, Marie Knight parted ways with Sister Rosetta Tharpe to embark on a solo career, forming a backing vocal group called the Millionaires, consisting of Thomasina Stewart, Eleonore King, and Roberta Jones.[9] With this ensemble, she continued in the gospel vein, releasing the album Songs of the Gospel in 1956 on the Decca label, which showcased her powerful contralto voice in traditional spirituals and hymns. She also achieved success that year with the R&B single "Tell Me Why".[9][2] By the late 1950s, Knight began transitioning to secular R&B, drawing on her gospel foundations to infuse her recordings with bluesy inflections and emotional depth, while experimenting with jump-blues and doo-wop elements.[10] She recorded for several labels during this period, including Decca, Mercury, and Okeh, reflecting frequent shifts as she navigated the competitive R&B market. A notable early secular release was her 1959 duet with Rex Garvin, "I Can't Sit Down" on Carlton Records, which peaked at No. 94 on the Billboard pop chart and highlighted her energetic, handclapping style reminiscent of her gospel roots.[9] In 1961, she issued "Come Tomorrow" on Okeh, further blending soulful phrasing with rhythmic drive.[9] Knight's R&B efforts faced significant challenges, including inconsistent commercial success and the instability of working across multiple small labels such as Baton, Diamond, and Addit, which limited promotion and distribution.[11] Despite these obstacles, her interpretive skills shone in covers of pop standards; her 1965 rendition of "Cry Me a River" on Musicor Records reached No. 35 on the Billboard R&B chart, delivering a torchy, blues-infused performance that underscored her versatility in bridging gospel intensity with secular sophistication.[9] This track exemplified her stylistic evolution, where vocal runs and emotional delivery evoked the fervor of church singing within a rhythm-and-blues framework.[4]

Later gospel revival

In the mid-1970s, after a period exploring R&B and secular music, Marie Knight returned to her gospel roots with the album Marie Knight: Today, released in 1976 on Blue Labor. This collection featured her powerful contralto voice on traditional spirituals and hymns, signaling a deliberate re-embrace of the genre that had launched her career decades earlier.[12] Throughout the 1980s and 1990s, Knight largely stepped back from the stage to focus on ministry work in Harlem, though she occasionally participated in gospel events that highlighted her enduring presence in the field. Her career longevity became more evident in the 2000s, as she collaborated with musicians like guitarist Larry Campbell and performed at festivals, including a notable appearance at the Margaret A. Hart '35 Gospel Fest in North Adams, Massachusetts, in 2007. These engagements underscored her ability to bridge generations in gospel music, drawing on over six decades of experience.[13][14] Knight's final major project, the 2007 album Let Us Get Together: A Tribute to Reverend Gary Davis on M.C. Records, featured her alongside Larry Campbell and captured live energy from her festival performances, reaffirming her commitment to gospel until her later years. The record included renditions of Davis's classics like "Let Us Get Together" and "I Belong to the Band," blending her vintage style with contemporary production to honor a shared musical heritage. This release marked a poignant capstone to her revival, emphasizing themes of unity and spiritual resilience.[15][16]

Personal life

Marriage and family tragedies

In 1941, Marie Knight married Albert Knight, a preacher from Corpus Christi, Texas.[2] The marriage ended in divorce several years later.[2] During the 1940s, Knight suffered a profound loss when her two young children perished in a house fire at her mother's home in New Jersey.[2] This tragedy marked one of the most devastating events in her personal life. Knight maintained a long-term residence in Harlem, New York, where she lived from the 1980s until her later years.[5] She remained close to her family, including her sister Bernice Henry, who survived her.[2]

Health and death

In her later years, Knight resided in Harlem, New York, continuing her work as a minister at the Gates of Prayer church.[2] Knight died on August 30, 2009, at the age of 89 from complications of pneumonia at a nursing home in Harlem, New York City.[2] She was survived by her sister, Bernice Henry.[2][4]

Legacy

Influence on gospel and R&B genres

Marie Knight played a pivotal role in pioneering the fusion of gospel's fervent spiritual expression with R&B's sensual rhythms and emotional depth, creating a hybrid style that anticipated the soul music of the 1960s. Her partnership with Sister Rosetta Tharpe in the late 1940s produced recordings like "Up Above My Head," which incorporated boogie-woogie piano and blues-inflected guitar to blend sacred lyrics with secular energy, achieving crossover success on R&B charts.[5][2] This innovative approach introduced a "hipper perspective" to traditional gospel, infusing it with modern rhythmic vitality while maintaining its testimonial power.[2] Knight's vocal power and emotive delivery in this fusion influenced subsequent generations of singers by demonstrating how gospel techniques could amplify personal and sensual narratives in R&B and soul contexts. Her robust phrasing and dynamic builds toward emotional climaxes modeled a swinging intensity that bridged sacred and profane music, shaping the expressive foundations of Black popular music.[5] Through solo R&B hits like "Tell Me Why" (1956), derived from the gospel standard "Just a Closer Walk With Thee," she further exemplified this blend, reaching wider secular audiences and paving the way for gospel-derived sensuality in mainstream charts.[5][2] As part of the groundbreaking duo with Tharpe, Knight helped popularize female vocal pairings in sacred music during the 1940s and 1950s, drawing massive crowds—such as 20,000 at a 1951 Griffith Stadium concert—and establishing a template for harmonious interplay between contrasting voices in gospel performance.[5] This duo format not only elevated women's roles in gospel but also facilitated their transition to secular R&B venues like the Apollo Theater, broadening the genre's appeal and commercial viability.[2] Knight's rich contralto voice, described as room-filling and spellbinding, advanced contralto singing techniques within Black music traditions by emphasizing a plain yet powerful style that conveyed deep emotional resonance without ornate flourishes.[2] Her ability to adapt this low-register timbre across gospel and R&B settings—balancing Tharpe's higher soprano in duets while commanding solo presence—influenced the development of versatile, earthy vocal approaches in these genres, prioritizing raw authenticity and harmonic depth.[5]

Recognition and tributes

Marie Knight received significant posthumous recognition for her contributions to gospel music, highlighted in her obituary published by The New York Times on September 3, 2009, which described her as a "rich-voiced gospel singer" whose contralto provided the ideal counterpoint to Sister Rosetta Tharpe's style, forming one of the top gospel acts of the 1940s.[2] Gospel historian Anthony Heilbut, a longtime admirer, praised her in the obituary, stating, “Marie’s style was plain and understated, but she had a big, beautiful voice. The combination was magic.”[2] Her early career breakthrough came through an onstage invitation from Mahalia Jackson at a 1946 Harlem concert, connecting her to the era's leading gospel figures and underscoring her standing within Jackson's influential circle.[2] In the years following her death, Knight's partnership with Tharpe inspired the play Marie and Rosetta by George Brant, which premiered in 2016 and has been staged widely as a tribute to their groundbreaking duo, blending gospel and early rock elements through live performances of their hits.[17] The production, described by the Evanston Roundtable as a "well-deserved tribute" that captures the "pure energy and pleasure" of their music, emphasizes Knight's role as Tharpe's protégé and has toured venues including Northlight Theatre and the Rose Theatre Kingston.[18] In 2025, the play received further acclaim with its UK premiere at Chichester Festival Theatre, starring Beverley Knight as Tharpe, and a subsequent transfer to London's West End at @sohoplace from February to April 2026.[19][20] Posthumous archival efforts have further revived interest in Knight's work, notably with the 2021 compilation album Gospel Train: The Marie Knight Story 1946-1962, released by Jasmine Records, which traces her evolution from 1940s gospel to 1950s R&B across 31 tracks from ten labels.[21] This collection highlights her vocal range and historical significance, building on her late-career album Let Us Get Together (2007).[21]

Discography

Key singles

Marie Knight's most significant singles emerged from her gospel collaborations and later R&B efforts, marking her transition across genres and labels. In the late 1940s, during her partnership with Sister Rosetta Tharpe, Knight contributed to several Decca releases backed by the Sam Price Trio. The duet "Didn't It Rain," recorded in the summer of 1947 as Decca 48054, showcased their harmonious call-and-response style and became an enduring gospel standard. "Up Above My Head," another Tharpe duet released in 1948 on Decca, peaked at No. 6 on the US R&B chart, highlighting Knight's soaring vocals in a lively arrangement. Transitioning to solo work, her 1949 single "Gospel Train" on Decca 48092 reached No. 9 on the R&B chart, emphasizing upbeat rhythms and spiritual fervor that broadened gospel's appeal.[22] As Knight shifted toward R&B in the 1950s, she recorded for smaller labels with varied production. Her 1956 release "Tell Me Why" on Wing 90069, featuring backing by The Griffins and written by Titus Turner, delivered a soulful ballad. In 1965, her reinterpretation of "Cry Me a River" on Musicor MU1076, produced by Stan Kahan and arranged by Bert Keyes, climbed to No. 35 on the R&B chart, infusing the Arthur Hamilton-penned torch song with raw emotional depth.[22]

Albums

Marie Knight's early solo album Songs of the Gospel, released in 1957 by Mercury Records, showcased her powerful contralto voice on a collection of traditional gospel hymns and spirituals.[23] The record featured tracks such as "The Storm Is Passing Over," "I Love Jesus," and "Can't Feel at Home," emphasizing uplifting, faith-centered themes drawn from classic Black gospel repertoire.[23] Produced in a straightforward, heartfelt style typical of mid-1950s gospel recordings, the album highlighted Knight's transition back to sacred music following her collaborations with Sister Rosetta Tharpe.[24] In 1975, Knight marked her return to gospel with the album Marie Knight: Today, issued by Apollo Records.[25] This release incorporated contemporary arrangements of gospel standards, reflecting her renewed commitment to the genre after a period focused on secular R&B.[25] The album's themes centered on spiritual renewal and devotion, blending Knight's seasoned vocal delivery with modern production elements to appeal to evolving audiences in the post-civil rights era gospel scene. Knight's final full-length album, Let Us Get Together, appeared in 2007 on Spirit Feel Records and served as a collaborative tribute to Reverend Gary Davis.[16] Featuring guitarist Larry Campbell and an ensemble of musicians, it reinterpreted Davis's blues-infused gospel songs, including "Lord I Feel Like Goin' On" and "Samson & Delilah," with a warm, ensemble-driven sound that underscored themes of unity and redemption.[16] Recorded when Knight was 87, the project celebrated her enduring legacy in gospel while bridging traditional spirituals with collaborative interpretation.[16]

Collaborations

Knight's most prominent collaborations occurred during her partnership with Sister Rosetta Tharpe, beginning in 1946 when Tharpe brought her to Decca Records for joint sessions that continued through 1951. These sessions produced numerous duet recordings blending gospel fervor with rhythmic energy, often backed by ensembles like the Sam Price Trio and the Dependable Boys. Notable releases include the 1949 single "Gospel Train," a lively track that exemplified their harmonious interplay and became a cornerstone of their shared catalog, later featured in compilations such as Complete Sister Rosetta Tharpe, Vol. 3: 1947-1951.[26][27][28] In the 1950s, following her split from Tharpe, Knight formed collaborations with gospel groups, most notably the Millionaires, with whom she recorded the 1956 album Sings the Gospel and the 1957 release Songs of the Gospel. These works showcased her lead vocals over group harmonies on traditional spirituals and blues-inflected gospel tunes. Additionally, she made guest appearances on R&B compilations, contributing tracks like "Miracles" (1959) to anthologies such as Bluesoul Belles, Vol. 4 (2001 reissue), highlighting her transition toward secular influences while maintaining gospel roots.[10][29][30] In her later career, Knight contributed to the 2003 various artists tribute album Shout, Sister, Shout!: A Tribute to Sister Rosetta Tharpe (M.C. Records), performing "Didn't It Rain" as a nod to her early partnership.[31] Knight's final collaborative effort was on her 2007 album Let Us Get Together: A Tribute to Reverend Gary Davis, featuring guitarist Larry Campbell and various session musicians who provided blues-gospel arrangements of Davis's compositions. This project marked a revival of her recording output, emphasizing ensemble performances that echoed her earlier duet style with Tharpe.[32]

References

  1. Marie Knight, Singer born - African American Registry
  2. Marie Knight, Gospel Singer, Is Dead at 89 - The New York Times
  3. Marie Knight On Mountain Stage - NPR
  4. Marie Knight dies at 84; gospel vocalist sang with Sister Rosetta ...
  5. Genre-Breaking Gospel Singer Influenced Early Rock
  6. The Sunset Four - Discography of American Historical Recordings
  7. Timeline: The Years of Sister Rosetta Tharpe | American Masters | PBS
  8. Sister Rosetta Tharpe: The Godmother Of Rock'N'Roll | uDiscover
  9. Marie Knight - WBSS Media
  10. Marie Knight Songs, Albums, Reviews, Bio & Mor... - AllMusic
  11. Marie Knight born 1 June 1925 - FROM THE VAULTS
  12. Discography
  13. 'I Thought I Told You Not to Tell Them,' Marie Knight - NJArts.net
  14. https://propermusic.com/products/marieknight-thegospelturthlive
  15. Let Us Get Together - Larry Campbell, Marie Kn... - AllMusic
  16. https://www.discogs.com/release/5544398-Marie-Knight-Featuring-Larry-Campbell-Let-Us-Get-Together-A-Tribute-To-Reverend-Gary-Davis
  17. Marie and Rosetta | Northlight Theatre
  18. 'Marie and Rosetta' – A gospel-rock tribute to Sister Tharpe
  19. https://www.discogs.com/release/20488909-Marie-Knight-The-Marie-Knight-Story-1946-62
  20. https://www.discogs.com/release/3868290-Marie-Knight-Songs-Of-The-Gospel
  21. https://www.dustygroove.com/item/190905/Marie-Knight:Songs-Of-The-Gospel
  22. Marie Roach Knight - August 30th in African American History
  23. Funk / Soul Gospel Disques vinyles, CDs et plus from smackeroo En ...
  24. Marie Knight
  25. Complete Sister Rosetta Tharpe, Vol. 3: 1947-1951 - Amazon.com
  26. Marie Knight - Soulful Kinda Music
  27. https://www.discogs.com/master/470485-Marie-Knight-Songs-Of-The-Gospel
  28. Marie Knight - MusicBrainz
  29. Marie Knight Featuring Larry Campbell - Let Us Get Together - A Tribute To Reverend Gary Davis
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