They had all the agility displayed in the smooth harmonies of groups like the Swan Silvertones and Sam Cooke's Soul Stirrers. But their lead vocalist, Clarence Fountain, was a rough-edged shouter, and the others in the group could match him and cut loose with the unbridled sounds of the preacher at full throttle. The group as a whole, then, slid not only from pitch to pitch and harmony to harmony but also from timbre to timbre, creating gospel harmony with a wallop.
These days, Fountain sings lead on only a few numbers, offering quiet statements that have the quality of wise asides. Younger singers who can evoke his power have been brought on board, and even as the number of Blind Boys fluctuates, the group's harmonies sound as strong as ever. Another compelling reason to hear today's Blind Boys of Alabama, though, lies in what's changed rather than in what's remained the same. Whereas the other classic gospel harmonists are long gone, the Blind Boys of Alabama have reinvented themselves while keeping their core sound undiluted.
They've kept their music vital by stretching themselves through collaboration. The process began with a stage musical called The Gospel at Colonus, a black gospel adaptation of Sophocles whose 1999 revival at the Power Center remains fresh in many Ann Arborites' memories. The Blind Boys have also toured with bluegrass musicians and recorded with gospel steel guitarists.