Its Gonna Rain Again Sensational Nightengales Plp
Various Artists – Become Correct With God: Hot Gospel Heritage HT CD 01 (1988)
A great set of gospel from its glory days, drawing from the previous collections Get Right With God: Hot Gospel (1947-1953) and Get Right With God: Hot Gospel (Volume two). This is all loftier-energy, upward-tempo stuff that rightly deserves the subtitle "hot gospel". The slightly crazed vocals, the imagery of fistfights with the devil, the tracts against moonshine, testimonies to the virtues of FDR, information technology all could probably never be duplicated. And I say that knowing total well the paltry gamble anyone would even try, ever. There are a few well-known names represented hither, similar The V Blind Boy of Mississippi, only mostly these are fairly obscure artists. Nonetheless, this makes a great introduction to the genre. There is a pregnant overlap with the longer and later-released set Gospel – The Ultimate Drove, which besides looks pretty skillful on newspaper (though I oasis't heard that i). If ane rail hither stands out from the others, I would accept to say it'southward "I'm Going to that City" by Sister O.M. Terrell, which can give any delta blues track a run for its money.
Bob Dylan – Saved Columbia PC 36553 (1980)
Dylan'south albums from his "christian" period take anile surprisingly well, considering how frequently they are overlooked entirely or dismissed equally unworthy.Saved is definitely the most dogmatic and preachy of the batch, and probably the to the lowest degree regarded. For certain, the religious content is rather drab. It doesn't offering much. But taken in the context of where gospel music was around 1980, this is actually a very fine example of it. The highlights are "Satisfied Listen" and the championship track. Dylan evokes some of the choir style (reference the "crown prince of gospel" Reverend James Cleveland, The Edwin Hawkins Singers, etc.), which was however one of the nearly popular styles in gospel, while at the aforementioned fourth dimension giving this a more contemporary rock sound. [Merely who would have thought that Dylan would use the riff from The Allman Brothers Band's "Midnight Rider" for "Solid Rock," on a gospel album?] It works fairly well.
Keith Richards quipped that Dylan merely cynically got into his "christian" phase to sell records. Merely compared to what Dylan was doing only prior to and but after this period, information technology's hard to deny that he was quite enthusiastic about this music. Not even in his after career critical resurgence did his music have the kind of energy information technology had at this time.
This one certainly is NOT the most compelling offering Dylan has put forth. Only it's a respectable album, and far superior to some of the dross the man would dump on the world a few years downwardly the road.
The Swan Silvertones – 24-hour interval By Solar day Savoy SL-14555 (1981)
Much like The Soul Stirrers and Fairport Convention, The Swan Silvertones were recording long subsequently the original members had left. The electric current group was led past lead vocalizer Louis Johnson. The songs all accept a Memphis soul feel. There are none of the intricate song harmonies of years past. Louis Johnson notwithstanding has a adept voice, though he doesn't seem to have the range he one time did. The new singers aren't prominent enough to exist memorable here. Still, the mellow sound of the album has its charms. This might just be the all-time offering from the grouping'southward years on Savoy Records.
The Swan Silvertones – Y'all Pray On HOB HBX 2146 (1972)
A pretty mediocre album. It'southward in the soul-inflected manner of It'due south a Miracle. However, producer John Bowden has done an absolutely atrocious job recording this. The instruments seem incredibly muddy and indistinct. At times the recordings are so murky that it seems similar the instrumentalists are just plainly out of sync with the vocalists. The murkiness of this recording is only as bad equally on In God's Hands.
The Swan Silvertones – You've Got a Friend HOB HBX 2156 (1973)
Yous've Got a Friend is among the more than listenable of the albums The Swan Sivertones recorded for HOB Records. The group has better success here melding their vocals with the instrumental backing than in subsequent years. Of note is the increasingly prominent use of raw, slightly twangy electric guitar and rock-inflected organ. Though there actually are no standout tracks, the version of the gospel standard "Well, Well, Well" and covers of James Cleveland'due south "Prayer Volition Motion It" and the recently popular "You lot've Got a Friend" are nice.
The Swan Silvertones – I'll Keep On Loving Him HOB HOB LP 2172 (1974)
A solid effort. Longtime member John Myles was still effectually for this mid-1970s album, though his input seems to have been waning. Louis Johnson and Sam Hubbard have lead song duties. Most of these songs are respectable but not particularly remarkable. The best of the bunch are the title track, the organ-drenched "Happy With Jesus Lone", and "Life of a Sinner". The last of those finds Louis Johnson going much farther than usual with some of his nearly subtly complex songwriting and arranging, with vocals punctuated by a somber horn and a jittery, rambunctious piano. The group does seem to run a bit depression on ideas in places. And then they borrow a guitar riff straight out of Al Green's "Dear and Happiness" to open up their version of "Leak in This Old Building". But generally The Swans bring enough free energy to the table that it's easy to let the album'south weaknesses slip past. On the whole, this is a characteristic attempt from the grouping's tenure on HOB Records, and worth a mind for anyone with an interest in soul-inflected gospel.
The Swan Silvertones – Try Me Principal HOB HOB LP 2182 (1975)
Try Me Master was the concluding album The Swan Silvertones released for HOB Records, and their last album with longtime member John Myles. Information technology'southward a decent album for the period, with meliorate production values than their many low-upkeep releases of the previous eight or nine years. The group remakes their perennial favorite "Jesus Remembers" and adapts a few gospel standards. The title rails and "Please Help Me" (with keyboards a little like Joy Division's "Beloved Will Tear Us Autonomously," of all things) are the highlights. The cloth is listenable throughout, if a little thin on side two. Fans will probably enjoy this even though it doesn't break any new ground.
Sam Cooke With The Soul Stirrers – Sam Cooke With The Soul Stirrers Speciality SPCD-7009-two (1991)
A proficient set, though still an imperfect one. Many reissues of Soul Stirrers material with Sam Cooke accept overdubs that were not present on the original releases. Fortunately, the versions hither are the originals. On the other hand, this set includes Sam Cooke's first 5 solo recordings (some originally released nether an alias "Dale Cook"), and those are for the most part a distraction. Sam Cooke's softer, lighter lead vocals took gospel music in a whole new management.
Sensational Nightingales – It'due south Gonna Pelting Again MCA 28033 (1972)
Soulful, mellow gospel produced by Ira Tucker of The Dixie Hummingbirds. This lineup of The Sensational Nightingales featured Horace Thompson, Brother Joseph Wallace, Charles B. Johnson and Willie George Woodruff. The grouping was among those meridian-flight gospel acts that updated their sound to gimmicky tastes into the 1970s. With accompaniment led by a reverb-heavy guitar, the smooth, simple vocals are all tricky and inviting. The sound is vaguely similar to The Swan Silvertones' I Found the Reply, The Consolers, and probably lots of other gospel of the solar day on Peacock Records and Nashboro Records. There is some filler toward the end, merely I can't assistance just really enjoy this.
Swan Silvertones – I Constitute the Answer Peacock PLP-181 (1973)
An album supposedly culled from leftover textile recorded for Vee-Jay Records in the 1960s that develops a soul-inflected sound — though given the credible absenteeism of Paul Owens and the possibility that information technology'due south Claude Jeter imitator Carl Davis rather than Jeter himself here, I wonder if this textile is from the post-Vee-Jay era. In that location are bouncy, up-tempo rhythms likewise as slower, smoother, organ-drenched sounds. At times in that location is even simply a fleck of country-rock influence. From songs like "How Groovy Thou Fine art" it'due south piece of cake to run into the direction the group would have through the mid-1970s during their tenure on HOB Records. This anthology has an easygoing charm. Information technology'southward even so another forgotten gem in The Swan Silvertones' itemize.
[Note: Though I don't believe this is available on CD by itself, it's available in its entirety on Raisin' the Roof]
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