The passionate gospel singer who foreshadowed rock and roll.

According to the simplified recipe, rock and roll was a friendly encounter between country and blues. Those ingredients are evident, of course, but it’s worth remembering that they needed a third component to ignite the mixture. That was gospel, religious music that heightened the expressive fervor of the two traditions.

I understand that this may be difficult to accept among fans of a music that was presumed to be pagan. But it becomes clear to those who know the biographies of Little Richard or Jerry Lee Lewis, to mention two very devout artists. The tendency to overlook this uncomfortable fervent element explains why predecessor figures like Sister Rosetta Tharpe (1915-1973) have been marginalized.

The term “sister” indicates that this powerful woman was an active participant in the lively ceremonies of Pentecostal churches, connected—at least initially—with echoes of resistance to slavery (and she was a promoter of conscientious objection!). Her songbook was essentially devotional, aside from pop treats made with the splendid orchestra of Lucky Millinder. This explains why her hits haven’t often been utilized by contemporary figures.

We can indeed sense her hovering over the so-called Million Dollar Quartet, that jam session of 1956 that brought together Elvis, Johnny Cash, Carl Perkins, and the aforementioned Jerry Lee in one studio. Beyond the recreations of her repertoire, one finds echoes of her eloquent electric guitar in Chuck Berry’s records. And it’s unnecessary to place her in the ranks of modernity, claiming her as an LGBTQ+ icon, attributing a bisexuality based on rumors, which are quite common in the circuit of itinerant preachers and singers.

Born in Arkansas to a single mother, she was already a seasoned child when she settled in Chicago. She had energy, presence, and a remarkable sense of spectacle. In New York, she solved the puzzle: presenting a pious repertoire in profane venues like the Cotton Club, Café Society, Savoy Ballroom, or Apollo Theater. How did she do it? By ignoring the contradictions and diving into the crowd, whether white or black.

She recorded for the Decca label with notable success. By 1949, she was showing the external signs of a star: a big house, an extensive wardrobe, powerful cars, and a tour bus. However, she had the misfortune of competing with powerful vocalists like Clara Ward and Mahalia Jackson, who projected a greater image of seriousness and political commitment. In addition, to her chagrin, the demand for frenzy was covered by rock and roll: “it’s nothing more than accelerated rhythm and blues, which I’ve been doing all my life.”

Salvation came from across the Atlantic. From 1957 onward, she regularly visited Europe, where she was cherished and celebrated as The Real Thing. This success bounced back and increased her worth in the United States, although too late: she had already lost her mansion in Virginia after being unable to pay her mortgage. But she had the favor of African Americans. Imagine: her third wedding took place in a stadium and was recorded for an album. Unfortunately, she took little care of herself. Diabetes led to the amputation of a leg, affecting her career. Now she is forgotten, but while the announced biopic arrives, numerous records summarizing her work circulate.

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