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The artwork is crafted with cotton artist-grade canvas, professionally hand-stretched and stapled over pine-wood bars in gallery wrap style a method utilized by artists to present artwork in galleries. Fade-resistant archival inks guarantee perfect color reproduction that remains vibrant for decades even when exposed to strong light. Add brilliance in color and exceptional detail to your space with the contemporary and uncompromising style of East Urban Home. Scripture Verse Wall Art
When Samuel was seeking who would be the king of Israel, He had all of Jesse’s sons pass before him and time after time, Samuel thought that surely one of these young men would be the next king.  Some were tall and muscular but that was not God’s standard.  Jesse didn’t call David who was what we might call the “runt of the litter” but God said that He looks not on the outward appearance but what is inside.  He doesn’t have regard for what a person’s looks are like but He looks at the heart because the most important attributes of a person are never what we see but the things we don’t see and what we cannot see, God can.  That’s all that really matters. Scripture Verse Wall Art
Jesus knew the heart and since He is God, He knows the thoughts and motives of every human heart for He is also the Creator.  God looked at the religious leaders and knew that they were hypocrites because they taught one thing but did another as Jesus said “on the outside you appear to people as righteous but on the inside you are full of hypocrisy and wickedness” (Matt 23:28).  They liked to be seen and wanted others to think highly of them but Jesus knew that inwardly they were as dead as could be and were full of all sorts of evil and uncleanliness.  It is never what others think about us that’s important; it is only what God knows about us that counts.  We might be able to fool others but we can never fool God because “Lord, you know everyone’s heart” (Acts 1:24) “for the LORD is a God who knows, and by him deeds are weighed” (1 Sam 2:3). Christian Images

Paul knew that the outward man or woman was perishing, day by day, and as he said “was wasting away” but the most important work was being done inwardly by the Spirit of God and this was the renewal that each believer in Christ is undergoing, day by day.  God’s Spirit works to convict us of sin, He works to make us more like Christ, and our sanctification is a lifelong process and even though we might be falling apart outwardly, what is eternal is what is inside and that’s the only thing that counts. We are new creations in Christ (2 Cor 5:17) even though the outward appearance is decaying, so that’s why Paul didn’t want us to lose heart.
While many white musicians gravitated toward country, folk, and old-timey music to express their spirituality outside of traditional Christian hymns, Black Gospel music drew heavily upon the traditional spirituals that had been passed down from the days of slavery, picking up its more driving rhythmic emphasis from blues and early jazz. Composer and singer Thomas A. Dorsey crystallized the style in 1932 with his epochal "Take My Hand, Precious Lord," and went on to compose a great many songs that later became standards. When performed in the churches, the music was traditionally sung by a choir, with individual soloists sometimes taking the spotlight; this often happened in a form known as "call and response," in which either the choir or the soloist would repeat and/or answer the lyric which had just been sung by the other, with the soloist improvising embellishments of the melody for greater emphasis. As the music developed, these soloists became more and more virtuosic, performing with wild emotion (and, in the South, physicality) in order to properly express the spiritual ecstasy the music was meant to evoke. The music was quite egalitarian in terms of gender, as both male and female performers -- Brother Joe May, Rev. James Cleveland, Mahalia Jackson, the Clara Ward Singers, etc. -- gained wide renown among both black and white audiences. The small-group format was also prevalent, with major figures including the Five Blind Boys of Mississippi, the Soul Stirrers, the Swan Silvertones, and the Dixie Hummingbirds; in general, these groups placed a greater premium on smooth vocal harmonies, although some performances could approach the raucous energy (if not quite the huge sound) of a choir-with-soloist group. As the years progressed, black gospel and black popular music influenced and borrowed from one another, reflecting the gradual change of emphasis toward R&B; black gospel also had an enormous impact on the development of soul music, which directed gospel's spiritual intensity into more secular concerns, and included a great many performers whose musical skills were developed in the church. As a recognizable style unto itself, black gospel music largely ceased to develop around the 1970s; progressing racial attitudes had helped black popular music reach wider audiences (and become more lucrative) than ever before, and tastes had turned towards the earthy hedonism of funk and the highly arranged, sophisticated Philly soul sound. The former wasn't quite appropriate for worship, and it wasn't all that practical to duplicate the latter in church services. However, the traditional black gospel sound survived intact and was eventually augmented by contemporary gospel (an '80s/'90s variation strongly influenced by latter-day urban R&B); plus, singers like Whitney Houston continued to develop within its ranks. Scripture Verse Wall Art
While many white musicians gravitated toward country, folk, and old-timey music to express their spirituality outside of traditional Christian hymns, Black Gospel music drew heavily upon the traditional spirituals that had been passed down from the days of slavery, picking up its more driving rhythmic emphasis from blues and early jazz. Composer and singer Thomas A. Dorsey crystallized the style in 1932 with his epochal "Take My Hand, Precious Lord," and went on to compose a great many songs that later became standards. When performed in the churches, the music was traditionally sung by a choir, with individual soloists sometimes taking the spotlight; this often happened in a form known as "call and response," in which either the choir or the soloist would repeat and/or answer the lyric which had just been sung by the other, with the soloist improvising embellishments of the melody for greater emphasis. As the music developed, these soloists became more and more virtuosic, performing with wild emotion (and, in the South, physicality) in order to properly express the spiritual ecstasy the music was meant to evoke. The music was quite egalitarian in terms of gender, as both male and female performers -- Brother Joe May, Rev. James Cleveland, Mahalia Jackson, the Clara Ward Singers, etc. -- gained wide renown among both black and white audiences. The small-group format was also prevalent, with major figures including the Five Blind Boys of Mississippi, the Soul Stirrers, the Swan Silvertones, and the Dixie Hummingbirds; in general, these groups placed a greater premium on smooth vocal harmonies, although some performances could approach the raucous energy (if not quite the huge sound) of a choir-with-soloist group. As the years progressed, black gospel and black popular music influenced and borrowed from one another, reflecting the gradual change of emphasis toward R&B; black gospel also had an enormous impact on the development of soul music, which directed gospel's spiritual intensity into more secular concerns, and included a great many performers whose musical skills were developed in the church. As a recognizable style unto itself, black gospel music largely ceased to develop around the 1970s; progressing racial attitudes had helped black popular music reach wider audiences (and become more lucrative) than ever before, and tastes had turned towards the earthy hedonism of funk and the highly arranged, sophisticated Philly soul sound. The former wasn't quite appropriate for worship, and it wasn't all that practical to duplicate the latter in church services. However, the traditional black gospel sound survived intact and was eventually augmented by contemporary gospel (an '80s/'90s variation strongly influenced by latter-day urban R&B); plus, singers like Whitney Houston continued to develop within its ranks.

Country music is a wildly popular genre, but there are other sub-genres that could exist beneath it, such as Christian country music (CCM). CCM, sometimes called country gospel or inspirational country, blends the style of country with biblical lyrics. Like country music itself, it is an expansive genre, and no two CCM artists will sound exactly alike.  Christian Images
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That said, it's up to you to determine who are the best gospel singers. If you notice that a gospel singer is missing, feel free to add them. This list answers the questions "who are the best gospel music bands of all time?" and "who is the greatest gospel musician ever?" If you know enough about the genre, please vote based on the quality of the band's music instead of just voting for the most popular gospel music bands that you might've heard of.  Scripture Images
So, who are the best gospel singers? Any list of gospel artists has to include male gospel singers like Kirk Franklin, Marvin Sapp, BeBe Winans, and Fred Hammond, as well as female Christian singers like CeCe Winans, Yalonda Adams and Shirley Caesar. These gospel singers are considered some of the best in the genre and it's with good reason that they're at or near the top of this poll. The best gospel artists are well represented on this list and with good reason. When you think of Christian singers and gospel artists, you should be able to use this list as a great point of reference. Scripture Verse Wall Art
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