MY SELECTED FAVORITES: A REGIONAL GOSPEL MINI-MIX
by Evan Honorama
I got into gospel records by accident. Here in this corner of the Northwest, they are familiar sight at thrift stores and antique shops, artifacts from an older, more devout generation. I started listening to them simply because I couldn't avoid them forever.
Honesty and devotion is what counts in Christianity. The same seems to be true for gospel music, which doesn't always come across to unfamiliar, secular ears. Most of the time, gospel records you'll find in this area are as you might guess -- very buttoned-down affairs, musically quite lethargic. On occasion, though, individual, creative quirks come through, and you're able to enjoy the passion and pride in the musicians' work, as much as an anonymous non-believer can.
The wonderful thing about this kind of music is that it's fairly prevelant (it seems like every average-sized church around in the 60's with a competent group of musicians put out a record) and not terribly collectible. When you're lucky, the experience is cheap, strange, and compelling.
THE SONGS:
The Johnson Sisters, "Sweet Jesus" (The Johnson Sisters Sing Harmony, Sing Records): This was the first gospel record I really found myself excited about. These ladies have a solid set of pipes, and harmonize with sweet barbershop-like clarity. There is a jazzy flavor to much of the arrangements on this album, which give it a surprising lilt. From Birmingham, Alabama.
Bob Larson, "I Know A Power" (I've Got The Lord, Cornerstone Records): The soft-focus cover portrait of Bob with his Jaguar grabbed me immediately. I think Bob fancied himself a God-loving Les Paul, which I think this track exemplifies. Dig the flying-out-of-nowhere backup vocals. From Glendale, California.
Helen McAlerney Barth, "All That Thrills My Soul Is Jesus" (It Took A Miracle, Singspiration Recordings): This entire album unfolds like the softest lullaby. I can't help but be transfixed by Helen's unplacable accent (Scottish?). From Moline, Illinois.
The Original Florida Boys, "It's Not An Easy Road" (My Selected Favorites, self-released): This is from an excellent collection of gospel tunes done by clearly very accomplished male singers. The full range of timbres they're able to pull from their voices remind me a bit of the Italian Trallaleri of Genoa recordings done by Alan Lomax. From (presumably) Florida -- no liner notes on this one.
The Musical Moores, "He's Got The Whole World" (Come A Little Closer, Christian Action Records): It's hard not to get excited about this one -- the whole family, from the 2-year-old daughter to the preacher father & mother, play and sing here. One can only dream that nascent Steve Ross Moore one day got to hear Augustus Pablo. From Medford, Oregon.
Naomi & The Joyful Sounds, "Shouten [sic] Sounds" (I'm Free, Vision Recordings): These guitar-toting ladies tear through this gospel standard with a serious country bounce. From Montesano, Washington.
by Evan Honorama
I got into gospel records by accident. Here in this corner of the Northwest, they are familiar sight at thrift stores and antique shops, artifacts from an older, more devout generation. I started listening to them simply because I couldn't avoid them forever.
Honesty and devotion is what counts in Christianity. The same seems to be true for gospel music, which doesn't always come across to unfamiliar, secular ears. Most of the time, gospel records you'll find in this area are as you might guess -- very buttoned-down affairs, musically quite lethargic. On occasion, though, individual, creative quirks come through, and you're able to enjoy the passion and pride in the musicians' work, as much as an anonymous non-believer can.
The wonderful thing about this kind of music is that it's fairly prevelant (it seems like every average-sized church around in the 60's with a competent group of musicians put out a record) and not terribly collectible. When you're lucky, the experience is cheap, strange, and compelling.
THE SONGS:
The Johnson Sisters, "Sweet Jesus" (The Johnson Sisters Sing Harmony, Sing Records): This was the first gospel record I really found myself excited about. These ladies have a solid set of pipes, and harmonize with sweet barbershop-like clarity. There is a jazzy flavor to much of the arrangements on this album, which give it a surprising lilt. From Birmingham, Alabama.
Bob Larson, "I Know A Power" (I've Got The Lord, Cornerstone Records): The soft-focus cover portrait of Bob with his Jaguar grabbed me immediately. I think Bob fancied himself a God-loving Les Paul, which I think this track exemplifies. Dig the flying-out-of-nowhere backup vocals. From Glendale, California.
Helen McAlerney Barth, "All That Thrills My Soul Is Jesus" (It Took A Miracle, Singspiration Recordings): This entire album unfolds like the softest lullaby. I can't help but be transfixed by Helen's unplacable accent (Scottish?). From Moline, Illinois.
The Original Florida Boys, "It's Not An Easy Road" (My Selected Favorites, self-released): This is from an excellent collection of gospel tunes done by clearly very accomplished male singers. The full range of timbres they're able to pull from their voices remind me a bit of the Italian Trallaleri of Genoa recordings done by Alan Lomax. From (presumably) Florida -- no liner notes on this one.
The Musical Moores, "He's Got The Whole World" (Come A Little Closer, Christian Action Records): It's hard not to get excited about this one -- the whole family, from the 2-year-old daughter to the preacher father & mother, play and sing here. One can only dream that nascent Steve Ross Moore one day got to hear Augustus Pablo. From Medford, Oregon.
Naomi & The Joyful Sounds, "Shouten [sic] Sounds" (I'm Free, Vision Recordings): These guitar-toting ladies tear through this gospel standard with a serious country bounce. From Montesano, Washington.
0 comments:
Post a Comment