Despite being one of Memphis's most long-running, prolific and popular gospel groups, the Jubilee Hummingbirds' story remains largely unwritten. Early members O.V. Wright and James Carr - both of whom crossed over into secular music while singing with them - have guaranteed their mention in soul circles, but for a group with such a presence in their home city, and a generous multi-label discography that began on wax in the mid-sixties and continues to this day, the Hummingbirds are a living, breathing example of the ever-present-yet-invisible place that gospel music can occupy by it's very design. Their 1983 Gospel Express LP was just one chapter in the rich history of the Jubilee Hummingbirds, but a significant one that deserves a deep focus. They were a little over halfway through their eighty-four-years-and-counting history when these recordings were made and they're still singing today, now under the leadership of William "Redd" Watson. In 1983, shortly after Watson joined the group - and with the aforementioned labels either winding up or slowing down their releases - the Birds landed on Bishop Bobby King's Gospel Express imprint. The vinyl-hustling enigma behind such street-level setups as Hub-City and Home-Boys, King was a ghetto gospel impresario who went by so many different names that much of his activity is still a mystery. Aside from inspiring music, King's calling card was the cut-and-paste album cover, which was almost ahead-of-it's-time - at least in his hands - in it's crudely-collaged aesthetic. Despite the modest original release, Gospel Express debut had no title, but sold well at programs and is being given a second lease on life here.