The Speight Sisters

Between 1950 and 1970, The Speight Sisters sang and recorded their interpretation of "The Storm Is Passing Over." M.L. Warrick produced their recording. 

Perhaps the most adventurous and modern rendition of the Tindley text, as presented in this highlight, is offered by the Speight Sisters. Beginning with a clarion call to give thanks to God with bronzed voices in the upper register, the ensemble sonically suggests that the courage summoned in the first verse is a source of strength. Popular song styles of the late 1960s and early 1970s are evoked in this recording, as the accompanying instruments comprise a four-piece rhythm section. Following the first verse, a spirited vamp ensues with a perpetual chorus of “Hallelujah’s” from the voices. The lack of harmonic motion enables the rhythmic drive to take center stage in this vamp as well as the closing vamp. 

Marvin Jenkins (1962)

Marvin Jenkins recorded his rendition of "The Storm Is Passing Over" with the Gospel Musettes accompanying in 1962 with the Tangerine Record Corporation in New York. Recorded not too long after gospel music’s Golden Age, this rendition incorporates more of Tindley’s text. Following a dramatic, slow introduction, a moderate tempo emerges. The addition of drums at this moment marks much more than a change in style and feel, it suggestively adds support (in the accompaniment) to the call to take courage and journey on. Foregoing the chorus, the soloist goes right into the second verse and slightly raises the range of her vocals. Such a push to the upper register demonstrates a strong command of improvisatory techniques but also increases the intensity of the delivery of texts that paint seas as angry and unsettling. At the 1:57 mark, the soloist exuberantly leads the vocal ensemble into the chorus. The two spirited statements of the chorus in this recording function as the apex of the rendition, as all voices joyfully celebrate the passing of the storm.

The Bonnett Harmonizers of Washington D.C.

In 1967, the Bonnett Harmonizers of Washington D. C. produced their version of the song and in fact, titled their entire album "The Storm is Passing Over."

This rendition features series of spirited vamps that focus specific words or phrases such as “passing over” or “Hallelujah.”  The harmonies explored by the instruments and accompanying vocals are not very adventurous, hinting at only a few colorful shadings at moments when the text or vamp shifts. Percussive stylings by the guitar and piano propel an unrelenting rhythmic drive that is reminiscent of praise (or shout) choruses encountered in some Black congregations. Whereas the text of Tindley’s first verse is used, there are not many connections to the general contour of the original melody. In fact, the soloist’s second verse bears virtually no lyrical relationship to any of Tindley’s verses—save the reference to the “Master” speaking (verse 3). Yet, in stormy seasons, this ensemble rejoices in hearing the Master with a joyous, energetic strains of hallelujahs.

Ebenezer AME Church

Listen to Ebenezer Inspirational Choir's rendition of Charles Tindley's "The Storm Is Passing Over." The Choir produced the recording between 1962 and 1980. 

It is believed that Rev. Artilla Bettis offered the solo rendition of the song on Ebenezer AME Church’s album, The Storm is Passing Over. Of all the renditions selected for this exhibit, this one retains the closest connection to Tindley’s original text and form. Whereas the harmonic underpinnings, lilting shuffle rhythm, and classic instrumentation point to traditional gospel stylings of the 1950’s and 1960’s, each of the verses is sung and allows the listener/performer to fully engage the perils of storms and disturbed seas as well as the safety within the Master’s voice and veil. Many modern revisions of this hymn utilize fragments of phrases to create vamps or choruses from which performers improvise on the tune and text, but this rather straightforward handling of the original presents the chorus, the “hallelujah,” as a veritable punctuation to the good news that concludes each verse.

Sensational Nightingales (1973)

The Sensational Nightingales included "The Storm Is Passing Over" in their 1973 release of Best of The Sensational Nightingales album.

The Sensational Nightingales rely heavily on Tindley’s “Hallelujah” chorus for their arrangement. In addition to it bookending the rendition, the “storm is passing over” fragment of the chorus serves as the ending of each verse. The listener is, thus, equally reminded of any storm’s temporality and reasons to offer exhortations of praise. In contrast to the metaphorical sea, the lead singer personalizes the verses offering by evoking the memories of his mother. The narrative arc of the verses is intriguing, as he migrates from someone else’s testimony—what his mother said—to more individual accounts of seeing and experiencing storms passing over. The modest harmonization and slow tempo suggest resolution, peace, and assurance, while subtly contrasted with brief moments of bright vocal colors in the high register of male voices.

The 21^st Century Singers (1975)

Creed Records released the 21st Century Singers recording in 1975. The driving pulse of the drums and bass is suggestive of popular music styles of the 1970s (disco, soft rock, etc.), and yet the tight, three-part harmony and text situate this rendition at the dawn of contemporary Black gospel styles that burgeoned during that decade. Such blending of traditional tunes and modern arrangements contributes to the ongoing development of gospel music. Indeed, the 21^st Century Singers (of 1975) were certainly looking forward. Lifting the first two verses of Tindley’s original hymn, the singers alter the contour of the melody and take structural liberties with the hymn’s title phrase at the ends of the verses, creating a new song form. Timely orchestral countermelodies by live instruments occur during the concluding “Hallelujah” choruses and, again, lend to pop styles, but the exclamatory utterances of individuals punctuate the exuberant praises of this ensemble’s offering.

Davis Sisters (1981)

Executive Producer, Ralph Lewis recorded the voices of the gospel music group, The Davis Sisters, in their 1981 rendition of "The Storm Is Passing Over."

In a manner like the Sensational Nightingales, the Davis Sisters open their rendition with the chorus of “hallelujahs” and use the “passing over” fragment to conclude verses. However, there are not many more commonalities between the two renditions. The accompaniment for this rendition features moments of rolling and rumbling gestures in the instruments. Note the rolls on the cymbals and the trembling lower notes on the piano whenever the vocal ensemble references “the storm” in the chorus. These treatments along with the absence of a tempo present a soundscape of restlessness and uncertainty. The singer’s verses convincingly intimate personal struggle through repeated phrases such as “trouble” and “hoping.” Though lacking a rhythmic pulse, the sentiment is not forlorn. There is always hope, as storms pass.