The Bells of Joy: The Collection (1951-1954)
Acrobat Records 2005
www.acrobatmusic.net
While the Bells of Joy did not possess superstar lead vocalists as did Peacock labelmates the Sensational Nightingales (June Cheeks), Spirit of Memphis (“Little Axe” Broadnax) and the Dixie Hummingbirds (Ira Tucker), leads A.C. Littlefield and Robert Dawkins were more than capable shouters. And like the Radio Four, the Bells of Joy stayed true to its country quartet roots – despite personnel changes – producing hand-clapping, muscle-twitching, steering wheel-pounding quartet gospel for four different record labels.
On Acrobat Records’ reissue of the quartet’s 1951-54 sessions for Peacock Records, you’ll find six of their seven original Peacock releases (including the monster gospel hit of 1952, “Let’s Talk About Jesus”) and a handful of unissued Peacock sides that first saw the light of day some years ago on the Japanese P-Vine label.
For a taste of the Bells’ best early work, check out "Let’s Talk About Jesus,” “Stop Right Now, It's Praying Time," "How Sweet it Is," "Since Jesus Changed this Heart of Mine," and "Leak in this Old Building." These sides, with their infectious beat and rhythmic call and response singing, have a power that leaps right off the grooves and into your nervous system. "Never Let it be Said Too Late,” with its ruminations on the Flood of 1953, has a renewed poignancy, given all the wreckage caused by the recent hurricanes.
From the unissued tracks, the standouts are “Do Lord Remember Me” – arguably the best version of that song ever captured on wax – and “Every Day and Every Hour.” The Southern Tones’ recording of “Every Day and Every Hour” for the Philadelphia-based Grand label borrows heavily from the Peacock arrangement. Not surprising: as Opal Nations’ liner notes point out, for a period of time, the Southern Tones were the Bells of Joy on tour and record.
While the Bells of Joy’s output might sound dated to devotees of the late 60s and 70s quartet sound, it is a great example of quartet singing emerging from the a cappella jubilee days and embracing the Big Beat to stay relevant in the RnB era.
Saturday, October 29, 2005
Monday, October 24, 2005
CD Review -- Alvin Slaughter: The Faith Life
Alvin Slaughter – The Faith Life
Integrity Gospel 2005
www.integritymusic.com
Worship leader Alvin Slaughter possesses a handsome baritone voice reminiscent of crooner James Ingram but sings with the command of a leading man in a Broadway musical. His seventh project, The Faith Life, is a mixture of contemporary Christian music, praise and worship, and gospel, performed with a racially-diverse mass choir before a live audience at the Covenant Love Family Church in Fayetteville, North Carolina.
One of the better moments on the CD is Slaughter’s solo performance of “This I Know”/”I Have Decided to Follow Jesus.” A lovely piano accompaniment (by Roger Ryan or Virgil Staford) underpins the medley, which combines a Slaughter-penned song with the old standard church hymn. This track gives Slaughter the freedom to exercise his voice without having to fight the thick instrumentation for musical space. Other tracks that showcase Slaughter’s singing are “The Latter Rain" and the marvelous inspirational ballad “Launch Out.”
While Integrity Gospel is promoting “When I Praise” and “Anything” for radio adds, neither is as musically interesting as “Sacrifice of Praise," the real hit on this project and the obvious crowd pleaser, based on the din of the audience. “Sacrifice” has all the components of a gospel hit with a strong melody, wall-of-sound production, excellent call-and-response between Slaughter and the ensemble, a steady build in intensity, and dramatic finish.
Overall, The Faith Life is thunderous, mega-church gospel that will please fans of gospel and CCM alike.
Integrity Gospel 2005
www.integritymusic.com
Worship leader Alvin Slaughter possesses a handsome baritone voice reminiscent of crooner James Ingram but sings with the command of a leading man in a Broadway musical. His seventh project, The Faith Life, is a mixture of contemporary Christian music, praise and worship, and gospel, performed with a racially-diverse mass choir before a live audience at the Covenant Love Family Church in Fayetteville, North Carolina.
One of the better moments on the CD is Slaughter’s solo performance of “This I Know”/”I Have Decided to Follow Jesus.” A lovely piano accompaniment (by Roger Ryan or Virgil Staford) underpins the medley, which combines a Slaughter-penned song with the old standard church hymn. This track gives Slaughter the freedom to exercise his voice without having to fight the thick instrumentation for musical space. Other tracks that showcase Slaughter’s singing are “The Latter Rain" and the marvelous inspirational ballad “Launch Out.”
While Integrity Gospel is promoting “When I Praise” and “Anything” for radio adds, neither is as musically interesting as “Sacrifice of Praise," the real hit on this project and the obvious crowd pleaser, based on the din of the audience. “Sacrifice” has all the components of a gospel hit with a strong melody, wall-of-sound production, excellent call-and-response between Slaughter and the ensemble, a steady build in intensity, and dramatic finish.
Overall, The Faith Life is thunderous, mega-church gospel that will please fans of gospel and CCM alike.
Saturday, October 22, 2005
A Great Day in Chicago: Living Legends Honor Dolores "Honey" Sykes
It reminded me of the famous photograph, “A Great Day in Harlem.”
This time, however, the venue wasn't the entranceway of an apartment building but the Monument of Faith Church on Chicago’s South Side, and the artists weren’t jazz performers but living legends of gospel music.
On October 22, 2005, at a luncheon honoring the life and work of Dolores “Honey” Sykes, a member of the famed Duncanaires and Thompson Community Singers, a group of pioneering gospel artists gathered to witness Honey receive an honorary doctorate of divinity.
The photo capturing the auspicious moment – with Honey in full academic regalia – could easily have been titled “A Great Day in Chicago.” In the photo with the honoree were such musical lights as Eugene Smith (Roberta Martin Singers), Albertina Walker (Caravans), Lorenza Brown Porter and Rebecca Nixon (Argo Singers), Doris Sykes (Maceo Woods Singers), Nash Shaffer (Jubilee Showcase keyboardist who also served as the luncheon’s MC), Vernon Oliver Price (Thompson Community Singers), Loretta Oliver (Duncanaires), Robert Wooten (Wooten Ensemble), Bertha Melson (Lux Singers), Rev. Yolanda Freeman, and others who I regrettably am forgetting at the moment.
In addition to the performers present, the widow of Brother Isaiah Roberts of Roberts Temple COGIC was also in the house, and at age 92, she looked great in her stylish hat. Brother Isaiah’s chorus waxed four sides for Vee Jay Records in 1954. A year later, it was Roberts Temple that was the only church large enough to accommodate the crowds who came to young Emmett Till’s funeral.
During lunch, attendees were treated to the playing of the Duncanaires’ only LP (1962) and an impromptu live performance of “How Great Thou Art” by Honey, Vernon, and Loretta who together sang the life out of that old church hymn.
It truly is a Great Day in Chicago when so many gospel artists get together to honor one of their own. What a time! What a time! What a time!
This time, however, the venue wasn't the entranceway of an apartment building but the Monument of Faith Church on Chicago’s South Side, and the artists weren’t jazz performers but living legends of gospel music.
On October 22, 2005, at a luncheon honoring the life and work of Dolores “Honey” Sykes, a member of the famed Duncanaires and Thompson Community Singers, a group of pioneering gospel artists gathered to witness Honey receive an honorary doctorate of divinity.
The photo capturing the auspicious moment – with Honey in full academic regalia – could easily have been titled “A Great Day in Chicago.” In the photo with the honoree were such musical lights as Eugene Smith (Roberta Martin Singers), Albertina Walker (Caravans), Lorenza Brown Porter and Rebecca Nixon (Argo Singers), Doris Sykes (Maceo Woods Singers), Nash Shaffer (Jubilee Showcase keyboardist who also served as the luncheon’s MC), Vernon Oliver Price (Thompson Community Singers), Loretta Oliver (Duncanaires), Robert Wooten (Wooten Ensemble), Bertha Melson (Lux Singers), Rev. Yolanda Freeman, and others who I regrettably am forgetting at the moment.
In addition to the performers present, the widow of Brother Isaiah Roberts of Roberts Temple COGIC was also in the house, and at age 92, she looked great in her stylish hat. Brother Isaiah’s chorus waxed four sides for Vee Jay Records in 1954. A year later, it was Roberts Temple that was the only church large enough to accommodate the crowds who came to young Emmett Till’s funeral.
During lunch, attendees were treated to the playing of the Duncanaires’ only LP (1962) and an impromptu live performance of “How Great Thou Art” by Honey, Vernon, and Loretta who together sang the life out of that old church hymn.
It truly is a Great Day in Chicago when so many gospel artists get together to honor one of their own. What a time! What a time! What a time!
Thursday, October 20, 2005
CD Review: Danny Brooks – Rock This House
Danny Brooks – Rock This House
His House Records 2005
www.dannybrooksmusic.com
Danny Brooks holds claim to the title of Blue-Eyed Soul Man of Canada. He has a true love and deep respect for African-American roots music and the vocal chops to do it justice. Imagine a saved Springsteen and you have an idea of Danny Brooks’ sound.
His latest release is called Rock This House, the second installment of his “Soulsville” series. The inspirational lyrics are drawn from the font of his personal struggles, but rather than offer a litany of tribulations for the listener to ponder, Brooks endows his songs with uncloudy messages of hope. On the other hand, the CD’s best track, “Hold On,” is pure fun, reminiscent of Arthur Conley’s “Sweet Soul Music” in its straight-ahead paean to the great soul singers of the past. Other outstanding tracks are the soul-baring “Down on my Knees” and “Unseen Hands.”
The Rocking Revelators is the muscular ensemble backing Brooks’ rugged vocals. The group includes former Band keyboardist Richard Bell, who also produced the project. The Revelators chug through Brooks’ repertory as if each member was frozen cryogenically in the early 1970s Muscle Shoals days, thawed out in 2005, shipped through Customs and into Canada. Among the background voices are the ever-capable Amoy Levy, John Mays, Steve Ambrose, and Hiram Joseph.
In an age stunted by the micro-categorization of musical styles, Danny Brooks reminds us that musical authenticity is best achieved through a broad-based integration of rock, soul, gospel, blues, RnB, and a little country. Rock This House proves this gumbo is every bit as good as it sounds.
His House Records 2005
www.dannybrooksmusic.com
Danny Brooks holds claim to the title of Blue-Eyed Soul Man of Canada. He has a true love and deep respect for African-American roots music and the vocal chops to do it justice. Imagine a saved Springsteen and you have an idea of Danny Brooks’ sound.
His latest release is called Rock This House, the second installment of his “Soulsville” series. The inspirational lyrics are drawn from the font of his personal struggles, but rather than offer a litany of tribulations for the listener to ponder, Brooks endows his songs with uncloudy messages of hope. On the other hand, the CD’s best track, “Hold On,” is pure fun, reminiscent of Arthur Conley’s “Sweet Soul Music” in its straight-ahead paean to the great soul singers of the past. Other outstanding tracks are the soul-baring “Down on my Knees” and “Unseen Hands.”
The Rocking Revelators is the muscular ensemble backing Brooks’ rugged vocals. The group includes former Band keyboardist Richard Bell, who also produced the project. The Revelators chug through Brooks’ repertory as if each member was frozen cryogenically in the early 1970s Muscle Shoals days, thawed out in 2005, shipped through Customs and into Canada. Among the background voices are the ever-capable Amoy Levy, John Mays, Steve Ambrose, and Hiram Joseph.
In an age stunted by the micro-categorization of musical styles, Danny Brooks reminds us that musical authenticity is best achieved through a broad-based integration of rock, soul, gospel, blues, RnB, and a little country. Rock This House proves this gumbo is every bit as good as it sounds.
Wednesday, October 19, 2005
Essential Gospel -- Classic Recordings: No. 128
“Get Right Church” - Dixie Hummingbirds
Peacock 1764
1956
The style, showmanship, and musical skill of the Dixie Hummingbirds are evident from the first few bars of this remarkably fun 1956 recording. While many quartets of the ‘40s, ‘50s, and ‘60s had a guitarist open their recordings by picking through the individual notes of a chord to provide members with their pitches, on “Get Right Church,” guitarist Howard Carroll dazzles with a quick, energetic riff that prepares the listener for the Birds’ more polished, professional quartet singing. Ira Tucker then uses this riff as his springboard, launching right into the song with his confident, expressive tenor voice.
What also distinguishes this recording from many quartet records of Gospel’s Golden Era is the group’s harmonic precision, attack, energy, and powerful call-and-response vamp. It’s an aural example of the Birds’ ability to wring every ounce of utility from a song, whether on the altar, stage, or in the studio. Mostly, however, it showcases the great Dixie Hummingbirds at the top of their game.
As talented as many of today’s artists and songwriters are, modern gospel music rarely comes close to the rich, exciting, and memorable sounds that sprang forth when church songs spun at 78 revolutions per minute.
Peacock 1764
1956
The style, showmanship, and musical skill of the Dixie Hummingbirds are evident from the first few bars of this remarkably fun 1956 recording. While many quartets of the ‘40s, ‘50s, and ‘60s had a guitarist open their recordings by picking through the individual notes of a chord to provide members with their pitches, on “Get Right Church,” guitarist Howard Carroll dazzles with a quick, energetic riff that prepares the listener for the Birds’ more polished, professional quartet singing. Ira Tucker then uses this riff as his springboard, launching right into the song with his confident, expressive tenor voice.
What also distinguishes this recording from many quartet records of Gospel’s Golden Era is the group’s harmonic precision, attack, energy, and powerful call-and-response vamp. It’s an aural example of the Birds’ ability to wring every ounce of utility from a song, whether on the altar, stage, or in the studio. Mostly, however, it showcases the great Dixie Hummingbirds at the top of their game.
As talented as many of today’s artists and songwriters are, modern gospel music rarely comes close to the rich, exciting, and memorable sounds that sprang forth when church songs spun at 78 revolutions per minute.
Saturday, October 15, 2005
CD Review: Various Artists – Texas Gospel: Come on Over Here (Volume 1: 1951-53)
Various Artists – Texas Gospel: Come on Over Here (Volume 1: 1951-53)
Acrobat Records ACMCD 4209
2005
www.acrobatmusic.net
Once again, Acrobat Records of England has given us a sampling of rare gospel recordings from the 1950s, many tracks that have not, until now, been available on a commercial reissue.
This collection could easily have been titled, “Early Recordings from the Vaults of Duke/Peacock,” for that is what Acrobat has given us. Hence the Texas appellation, since Don Robey’s Peacock and Duke labels were headquartered in Houston, though the featured artists hail from cities such as Chicago and Memphis.
The quartet recordings are mostly in the a cappella tradition, though some include guitar and Peacock’s thumping drum beat that, like a bass singer’s booming, moved quartet rhythms up the intensity meter to grab the attention of the secular music audience.
You have to love a CD that begins with tracks recorded in 1951 by the Christland Singers, an aggregation comprised largely of former Soul Stirrers, such as quartet pioneer R.H. Harris. “Peace in the Land,” included here, is one of the group’s finest tracks. Also included on the collection are Memphis’ Southern Wonders; the Golden Harps of Chicago, a female quartet performing in the male quartet tradition rather than the piano-accompanied style more often associated with female groups; the obscure Gospel Tone Singers’ 1951 “Rest from my Labor,” featuring remarkable hard-singing lead by A.D. Batchelor; and recordings by the Stars of Hope, Swanee Spiritual Singers, and the Wilson and Watson Singers, the latter obvious emulators of the Roberta Martin Singers.
Worth the price of the collection is hearing the curious two-part “God’s Chariot” by the Gospel Travelers, the recording that launched the Duke imprint. While a now politically incorrect statement of God’s wrath on His people through a tornado that devastated southern states on March 31, 1952, “God’s Chariot” is nevertheless unforgettable and dramatic quartet singing backed by sound effects of rolling thunder and howling winds. Opal Nations’ liner notes on the creation of this song and on Duke’s subsequent sale to Robey make for interesting reading.
The aural quality of the CD is decent, with individual songs’ clarity dependent on the condition of the 78s used to create them, though most of the vinyl sounds VG+. Texas Gospel: Come on Over Here is sure to warm the hearts and quicken the pulses of quartet fans, particularly those who like their singing a cappella.
Acrobat Records ACMCD 4209
2005
www.acrobatmusic.net
Once again, Acrobat Records of England has given us a sampling of rare gospel recordings from the 1950s, many tracks that have not, until now, been available on a commercial reissue.
This collection could easily have been titled, “Early Recordings from the Vaults of Duke/Peacock,” for that is what Acrobat has given us. Hence the Texas appellation, since Don Robey’s Peacock and Duke labels were headquartered in Houston, though the featured artists hail from cities such as Chicago and Memphis.
The quartet recordings are mostly in the a cappella tradition, though some include guitar and Peacock’s thumping drum beat that, like a bass singer’s booming, moved quartet rhythms up the intensity meter to grab the attention of the secular music audience.
You have to love a CD that begins with tracks recorded in 1951 by the Christland Singers, an aggregation comprised largely of former Soul Stirrers, such as quartet pioneer R.H. Harris. “Peace in the Land,” included here, is one of the group’s finest tracks. Also included on the collection are Memphis’ Southern Wonders; the Golden Harps of Chicago, a female quartet performing in the male quartet tradition rather than the piano-accompanied style more often associated with female groups; the obscure Gospel Tone Singers’ 1951 “Rest from my Labor,” featuring remarkable hard-singing lead by A.D. Batchelor; and recordings by the Stars of Hope, Swanee Spiritual Singers, and the Wilson and Watson Singers, the latter obvious emulators of the Roberta Martin Singers.
Worth the price of the collection is hearing the curious two-part “God’s Chariot” by the Gospel Travelers, the recording that launched the Duke imprint. While a now politically incorrect statement of God’s wrath on His people through a tornado that devastated southern states on March 31, 1952, “God’s Chariot” is nevertheless unforgettable and dramatic quartet singing backed by sound effects of rolling thunder and howling winds. Opal Nations’ liner notes on the creation of this song and on Duke’s subsequent sale to Robey make for interesting reading.
The aural quality of the CD is decent, with individual songs’ clarity dependent on the condition of the 78s used to create them, though most of the vinyl sounds VG+. Texas Gospel: Come on Over Here is sure to warm the hearts and quicken the pulses of quartet fans, particularly those who like their singing a cappella.
Tuesday, October 11, 2005
CD Review: Ministry Mark A. Smith
Ministry
Mark A. Smith
Danbla Records 2005
www.danblarecords.com
Mark A. Smith is a pleasant gospel balladeer with better than average talent who infuses his quiet-storm gospel production with hip hop, rap, and jazz stylings to great effect.
In fact, the tracks on which Smith experiments with styles not often associated with gospel music are the clear standouts on this overall fine project. The hip hop quality of “Get Ready” is very energizing, as is the rap-infused “Try Jesus,” with Brad “Changed Man” Reid providing the rap vocals. “Restoration” is the most infectious and radio-friendly performance in the collection, but “I’m Blessed” comes in close second with its lively interplay between Smith and his background singers.
Ministry would have been even better had Smith led off with “Restoration” instead of “Allow Me,” the latter a delicate, introspective ballad that seems out of place at the beginning of the CD. “Allow Me” would have been better placed at the conclusion of the CD. Still and all, Ministry is well-produced, enjoyable, and a good showcase for Mark A. Smith’s eclectic musical tastes.
Mark A. Smith
Danbla Records 2005
www.danblarecords.com
Mark A. Smith is a pleasant gospel balladeer with better than average talent who infuses his quiet-storm gospel production with hip hop, rap, and jazz stylings to great effect.
In fact, the tracks on which Smith experiments with styles not often associated with gospel music are the clear standouts on this overall fine project. The hip hop quality of “Get Ready” is very energizing, as is the rap-infused “Try Jesus,” with Brad “Changed Man” Reid providing the rap vocals. “Restoration” is the most infectious and radio-friendly performance in the collection, but “I’m Blessed” comes in close second with its lively interplay between Smith and his background singers.
Ministry would have been even better had Smith led off with “Restoration” instead of “Allow Me,” the latter a delicate, introspective ballad that seems out of place at the beginning of the CD. “Allow Me” would have been better placed at the conclusion of the CD. Still and all, Ministry is well-produced, enjoyable, and a good showcase for Mark A. Smith’s eclectic musical tastes.
Saturday, October 08, 2005
Warriors "Work it Out" for Katrina Victims
I lament that most of today's gospel music does not take a stand on political and social issues in the way that gospel artists from the '40s to the '70s had done. While this isn't quite the rage-against-the-machine that I am suggesting, "Work It Out - The Katrina Remix" is at least an effort to harness the power of gospel music to comment on the country's current social tragedy.
And of course, wouldn't you know it -- it's one of the gospel pioneers that has taken the first step. Way to go, Dr. Hayes and the Warriors!
Now, who will record a song that comments on the way poor people were ignored in the wake of the storm?
This, from The Belle Report:
Chicago, IL -- Today, ICEE Inspirational releases a special remix of “Work It Out” – The Katrina Mix." This latest version of the nation’s top-rated inspirational song continues to dominate radio and even made it over to adult urban radio. The “Katrina Remix” tells the story of how Jesus is still working it out for the many who continue to rebound from the tragic incident in the Gulf-Coast region. The song is on the desk of all radio programmers.
Last month, ICEE donated $1 for each album sold to benefit the victims of Hurricane Katrina and just a few weeks ago, Dr. Charles Hayes & The Warriors and others donated their time in a benefit concert in Chicago, IL. All proceeds benefited those in the music industry-radio, retail, clubs, etc. who have had to migrate to northern cities from the Gulf area to rebuild their lives. The event was also designed to create a support system in financial raising funds to give them assistance.
“The song itself lends itself to encouragement in that no matter what you’re going through, Jesus can work it out,” says Dr. Charles White-CEO Inspirational. “The song is such a phenomenon and we hope that it will be a blessing to all.”
ICEE Inspirational’s latest release by Dr. Charles G. Hayes & The Warriors has sold out in every store in Chicago and continues to be the number one inspirational song in America. Already the #1 song on various radio stations including Chicago’s WVAZ and WGCI, “Work It Out - The Remix” - continues to get over 600 spins a week
ICEE Inspirational, a division of ICEE Records, who has impressively established a solid role in the independent record community, is introducing the latest project from this dynamic powerhouse, “THE REMIX”.
TBGB here: Thanks to Sheilah Belle for keeping all of us updated on gospel music news.
And of course, wouldn't you know it -- it's one of the gospel pioneers that has taken the first step. Way to go, Dr. Hayes and the Warriors!
Now, who will record a song that comments on the way poor people were ignored in the wake of the storm?
This, from The Belle Report:
Chicago, IL -- Today, ICEE Inspirational releases a special remix of “Work It Out” – The Katrina Mix." This latest version of the nation’s top-rated inspirational song continues to dominate radio and even made it over to adult urban radio. The “Katrina Remix” tells the story of how Jesus is still working it out for the many who continue to rebound from the tragic incident in the Gulf-Coast region. The song is on the desk of all radio programmers.
Last month, ICEE donated $1 for each album sold to benefit the victims of Hurricane Katrina and just a few weeks ago, Dr. Charles Hayes & The Warriors and others donated their time in a benefit concert in Chicago, IL. All proceeds benefited those in the music industry-radio, retail, clubs, etc. who have had to migrate to northern cities from the Gulf area to rebuild their lives. The event was also designed to create a support system in financial raising funds to give them assistance.
“The song itself lends itself to encouragement in that no matter what you’re going through, Jesus can work it out,” says Dr. Charles White-CEO Inspirational. “The song is such a phenomenon and we hope that it will be a blessing to all.”
ICEE Inspirational’s latest release by Dr. Charles G. Hayes & The Warriors has sold out in every store in Chicago and continues to be the number one inspirational song in America. Already the #1 song on various radio stations including Chicago’s WVAZ and WGCI, “Work It Out - The Remix” - continues to get over 600 spins a week
ICEE Inspirational, a division of ICEE Records, who has impressively established a solid role in the independent record community, is introducing the latest project from this dynamic powerhouse, “THE REMIX”.
TBGB here: Thanks to Sheilah Belle for keeping all of us updated on gospel music news.
Tuesday, October 04, 2005
CD Review: Happy in the Service of the Lord - Spirit of Memphis
Happy in the Service of the Lord: 1949 - 1954
The Spirit of Memphis Quartet
Acrobat ADDCD 3007
www.acrobatmusic.net
2005
If you know anything about the Spirit of Memphis, all I have to say is that Happy in the Service of the Lord includes their seminal King recordings, and you will know immediately that it is a fantastic, soul-stirring, spine-tingling listening experience. In addition, it is the most comprehensive collection of the quartet’s work commercially available on compact disc.
Included on the two-CD collection are all of the Spirit of Memphis Quartet’s early recordings, from their limited-pressing Hallelujah Spirituals 78 and national debut on the DeLuxe label, both from 1949, through their years with King and Peacock before Joe Hinton joined the group.
The King sessions comprise the majority of the collection and showcase the legendary singing-preaching majesty of Silas Steele. His voice-of-God delivery sneaks up on the listener and packs enough power to punch a hole in the ozone layer. Added to Steele’s artistry is the emotional lead work of Willmer “Little Ax” Broadnax, the quartet’s steady walking rhythm, and the King studios’ haunting echo that gives the a cappella harmony a three-dimensional quality.
But arguably the finest moment in the set comes a minute into “Blessed are the Dead” (1949), when the listener is treated to one of the most frighteningly beautiful moments of quartet harmony in all of gospel music. The entire track contains the hushed atmosphere of Gregorian chant, but the magical harmonic moment, though it lasts but a few seconds, brings to mind the chilling, dark modal sound of Russian choral singing – very fitting given the subject matter.
This is not the only time that the Spirit of Memphis plays with our senses. Their lining-out of “That Awful Day” (1951) and the mournful trumpet punctuating the Peacock single “When Mother’s Gone” (1954) could give a corpse the shivers. Concluding the set, “I’ll Tell It” (1954) is a tour de force of hard gospel singing on a song recorded by their former labelmates on King, the Swan Silvertones.
The great sweep of the Spirit of Memphis’ oeuvre pulled together for this two-CD collection, with always informative liner notes from Opal Nations, is proof positive that the quartet’s greatest gift to gospel music was high drama.
The Spirit of Memphis Quartet
Acrobat ADDCD 3007
www.acrobatmusic.net
2005
If you know anything about the Spirit of Memphis, all I have to say is that Happy in the Service of the Lord includes their seminal King recordings, and you will know immediately that it is a fantastic, soul-stirring, spine-tingling listening experience. In addition, it is the most comprehensive collection of the quartet’s work commercially available on compact disc.
Included on the two-CD collection are all of the Spirit of Memphis Quartet’s early recordings, from their limited-pressing Hallelujah Spirituals 78 and national debut on the DeLuxe label, both from 1949, through their years with King and Peacock before Joe Hinton joined the group.
The King sessions comprise the majority of the collection and showcase the legendary singing-preaching majesty of Silas Steele. His voice-of-God delivery sneaks up on the listener and packs enough power to punch a hole in the ozone layer. Added to Steele’s artistry is the emotional lead work of Willmer “Little Ax” Broadnax, the quartet’s steady walking rhythm, and the King studios’ haunting echo that gives the a cappella harmony a three-dimensional quality.
But arguably the finest moment in the set comes a minute into “Blessed are the Dead” (1949), when the listener is treated to one of the most frighteningly beautiful moments of quartet harmony in all of gospel music. The entire track contains the hushed atmosphere of Gregorian chant, but the magical harmonic moment, though it lasts but a few seconds, brings to mind the chilling, dark modal sound of Russian choral singing – very fitting given the subject matter.
This is not the only time that the Spirit of Memphis plays with our senses. Their lining-out of “That Awful Day” (1951) and the mournful trumpet punctuating the Peacock single “When Mother’s Gone” (1954) could give a corpse the shivers. Concluding the set, “I’ll Tell It” (1954) is a tour de force of hard gospel singing on a song recorded by their former labelmates on King, the Swan Silvertones.
The great sweep of the Spirit of Memphis’ oeuvre pulled together for this two-CD collection, with always informative liner notes from Opal Nations, is proof positive that the quartet’s greatest gift to gospel music was high drama.
Subscribe to:
Posts (Atom)
Posts
