One assumes that Goff intended this travesty of a book to provide a history of white gospel singing. But, while constantly referring to white and black gospel as distinctive forms, he never establishes exactly what the differences are. He instead pelts readers with a flurry of boring mini-biographies and social-conservative propaganda. The reader gets a strong sense that Goff disapproves of atheists, homosexuality and abortion, but if the book was supposed to give a definitive account of a musical tradition, it fails.

In this important work, Goff traces the history of Southern Gospel music, the religious music of the Southern plain folk. Building on folk church singing forms, Southern Gospel began in earnest with the quartets sent out to publize songbooks issued by companies such as Stamps and Vaughn. Out of these quartets came such revolutionary groups as the Blackwood Brothers and the Statesmen. Goff continues the history up to the current era, looking at the development of the field and its popularity. Southern Gospel has largely been ignored by scholars so this book fills a deep gap in the literature. As an overview, some performers undoubtedly were left out, but that is a minor quibble. Some topics, such as the interrelationship of Southern gospel and Country music, need further discussion. A new area of research has been opened and with Goff as a guide, let us hope it quickly develops.

Any fan of Southern gospel music would do well to choose Close Harmony as a guide: author James Goff provides a rich history of the genre's evolution from its originals in 19th century shape-note singing to its emergence as a distinct style in a changing music industry. White and black gospel music trends are explored in the course of this title's solid coverage.