Posts Tagged ‘Gospel’

Hank Williams: The Complete Health & Happiness Recordings

Saturday, August 10th, 2019

Essential, remastered 1949 radio transcriptions

For a star of Hank Williams’ magnitude, it’s surprising that these October 1949 radio transcriptions have had a life as rough as his own. First released by MGM in the early ‘60s in bits and pieces, the transcriptions were subjected to overdubbed applause intended to turn the studio recordings into live sets. Polygram’s 1993 reissue, Health & Happiness Shows, stripped away the manipulations, but evidenced physical problems with the transcriptions, and Time-Life’s 2011 reissue, The Legend Begins, repaired many of the transcription issues, while offering a remastering that some listeners found too heavy on the high end. This latest version features new transcriptions and remastering by Michael Graves, alongside liner notes by Colin Escott.

As with the two previous releases, this set includes the eight shows that Williams recorded on two successive Sunday’s at WSM-AM’s Nashville studio. Each show stretched to fifteen minutes when augmented by ad copy read by a local announcer, and here they clock in a few minutes shorter. Williams opens each show with the Sons of the Pioneers’ “Happy Rovin’ Cowboy” and fiddler Jerry Rivers closes each episode with the instrumental “Sally Goodin.” In between Williams sings some of his best-loved early hits, original songs and gospel numbers, and much like the later performances gathered on The Complete Mothers’ Best Recordings… Plus! (or its musical-excerpt version, The Unreleased Recordings), the spontaneity and freshness of the live takes often outshine the better-known studio versions.

Williams had a few hits in 1947 and 1948, but 1949 was the year his career really took off. Moving from Shreveport’s Louisiana Hayride to Nashville’s Grand Ol’ Opry, Williams’ catalog evolved from February’s chart-topping cover of the 1920’s show tune “Love Sick Blues,” to November’s iconic original “I’m So Lonesome I Could Cry.” The latter’s release, as a B-side to “My Bucket’s Got a Hole In It,” was still a month away when performed on this show, but as Williams explains to his radio audience, it’s performance on stage was already generating requests. It’s taken here a hair slower than on the single, and with the single’s fiddle solo omitted there’s more room for Williams and Don Helms’ pedal steel to draw out the song’s anguish.

As noted, each of the eight shows opens with Williams singing the Sons of the Pioneers’ “Happy Rovin’ Cowboy,” followed by WSM announcer Grant Turner introducing Williams to sing one of his original songs. A commercial break, unfortunately not included here, led into a second Williams song, a second commercial break, a tune by fiddler Jerry Rivers, a sacred song, and the fiddle song “Sally Goodin’” to close things out. The repetition gets a bit tiresome by the eighth go-round, but the shows are broken into discrete tracks that allow you to choose whether to listen to the continuity of a program, or navigate past the intros and outros to pick out your favorite tracks.

Williams was in fine voice for both days of recording, and the live-in-the-studio setting brought out vital performances from this initial Nashville lineup of the Drifting Cowboys. Williams omits his earliest hits (“Move It On Over” and “Honky Tonkin’”) and the then-yet-to-be-released novelty “My Bucket’s Got a Hole In It,” but features the rest of his hits to date, including 1948’s “I’m a Long Gone Daddy” and “A Mansion on the Hill,” and 1949’s “Lovesick Blues” and “Wedding Bells,” twice each, “Mind Your Own Business,” “You’re Gonna Change (Or I’m Gonna Leave),” “Lost Highway” and the upcoming “I’m So Lonesome I Could Cry.” These are terrific renderings – in both performance and sound quality – that easily sit side-by-side with the better known singles. Williams’ performance catalog at this point also included the non-charting 1947 single “Pan American” and the non-charting B-sides “I Can’t Get You Off My Mind” and “There’ll Be No Teardrops Tonight.”

The sacred songs include the only known recording of Hazel and Grady Cole’s “The Tramp on the Street,” Pee Wee King’s “Thy Burdens Are Greater Than Mine,” and the originals “When God Comes and Gathers His Jewels” and “I Saw the Light.” On the latter, steel guitarist Don Helms and bassist Hillous Butram step up to the microphone to provide backing vocals. Williams’ wife Audrey sings a number on each of the first four programs, and while her solo slots – “I’m Telling You” and a cover of Doris Day’s then-current “(There’s a Bluebird) On Your Windowsill” – don’t evidence much talent, the duets “Where the Soul of Man Never Dies” and “I Want to Live and Love” show off the chemistry she shared with her husband and her resolve to be heard.

These shows sat in the vault until the Spring of 1950, latching on to the fame Williams would generate over the next three years. Colin Escott takes a third swing at the liner notes for this material, having written the notes for Polygram’s and Time-Life’s earlier reissues, and tells the tale of the show and the show’s patent medicine sponsor, Hadacol. As with Joe Palmaccio’s restoration for Time-Life’s 2011 release, Michael Graves erases the sonic artifacts that plague the transcription discs, and reveals the high quality of the original recordings. Williams would record additional transcription programs in 1950 (Garden Spot) and 1951 (Mothers Best), but these 1949 sessions, caught at the start of his rocket ride to stardom, are as essential as any recordings in his catalog. [©2019 Hyperbolium]

Buck Owens and the Buckaroos: The Complete Capitol Singles 1971-1975

Tuesday, June 4th, 2019

Buck Owens closes out his phenomenal first run on Capitol

After a pair of double-disc sets covering Owens’ trailblazing, chart topping singles of 1957-1966 and 1967-1970, Omnivore closes out the Bakersfield legend’s run on Capitol with this superb third volume. Owens’ early ‘70s singles didn’t repeat the commercial dominance of his 1960s output, but several still landed in the upper reaches of the charts (and at #1 with Bob and Faye Morris’ “Made in Japan”), and demonstrated continued creativity. The early ‘70s were a time of artistic exploration for Owens as he recorded in his then-newly built Bakersfield studio, produced himself, covered material from outside the country realm, and stretched out from his classic Telecaster-and-steel sound to incorporate pop, bluegrass and gospel. As this set attests, his declining chart fortunes were more a product of changing public tastes and industry trends than a slip in artistry.

Owens opened 1971 with a moving cover of “Bridge Over Troubled Water,” featuring a solemn vocal, acoustic guitar and atmospheric backing harmonies that take the song to a different emotional place than Simon & Garfunkel’s original. He showed off his omnivorous musical appetite and sense of humor with a southern-funk take on Jimmy Driftwood’s “Battle of New Orleans” a transformation of Shel Silverstein’s “The Cover of the Rolling Stone” into the country-styled “On the Cover of the Music City News,” a loping bluegrass arrangement of Cousin Emmy’s “Ruby, Are You Mad at Your Man” and an energetic version of the traditional “Rollin’ in My Sweet Baby’s Arms.” The latter two expanded the Buckaroos’ musical palette with the addition of Ronnie Jackson’s banjo.

The biggest hits in this five year span came from the pens of others, but Owens continued to write fresh material for himself. He cracked the Top 10 with “Great Expectations,” and the novelties “Big Game Hunter” and  “(It’s A) Monster’s Holiday,” and further down the chart he scored with the defeated “In the Palm of Your Hand,” the discontented “Arms Full of Empty,” the defiant “You Ain’t Gonna Have Ol’ Buck to Kick Around No More” and the happy-go-lucky “Ain’t It Amazing, Gracie.” Owens clearly had fuel left in his songwriting tank, even if country radio and the listening public weren’t paying as close attention as they had the previous decade.

Owens’ songwriting prowess can also be heard in B-sides that include the Mexicali-tinged waltz “Black Texas Dirt” and the steel and fiddle heartbreak of “I Love You So Much It Hurts.” He picked up excellent material from Terry Clements, John English, Dennis Knutson, Robert John Jones and Buckaroos Jim Shaw, including “(I’m Goin’) Home,” “41st Street Lonely Hearts Club,” and his last Capitol single, “Country Singer’s Prayer.” With the 1974 death of Don Rich having deeply dented his enthusiasm for music making, his waning commercial success led him to a mutual parting of the ways with Capitol (who shelved his last album in the process). He signed with Warner Brothers for a pair of albums that garnered middling chart success before he slipped into a hiatus that lasted much of the 1980s.

Omnivore’s double disc set includes the A’s and B’s of all 21 singles that Owens released on Capitol from 1971 to 1975, both with the Buckaroos, and in duets with his son Buddy and his protege Susan Raye. The latter includes charting covers of the Browns’ “Looking Back to See” (with a twangy steel solo from Ralph Mooney) and Mickey & Sylvia’s “Love is Strange,” and a re-recording of “The Good Old Days (Are Here Again),” a song that Owens had released as a Buckaroos-backed B-side just two months earlier. The 16-page booklet includes liner notes by Scott Bomar, photos, picture sleeve reproductions, and detailed release, chart and personnel data. This is a worthy capstone to Owens’ monumental career at Capitol, and an essential volume for fans of his music. [©2019 Hyperbolium]

Leo Bud Welch: The Angels in Heaven Done Signed My Name

Saturday, April 20th, 2019

Posthumous album from an 80-something blues unicorn

Born in 1932, the Mississippi native Welch turned seventy-two years of music making into three years of worldwide fame. Welch was essentially both an elder statesman and an 81-year-old rookie when he released 2014’s Sabougla Voices. He soon found himself feted on festival stages around the world, released a second album in 2015, I Don’t Prefer No Blues, and was the subject of the 2018 documentary, Late Blossom Blues. Welch’s fame may have come late, but the authenticity of his gospel and blues was deeply appreciated by all those who heard him play and sing. Welch passed away in 2017, but not before recording more than two dozen songs with Dan Auerbach in his Nashville studio.

Auerbach produced and played guitar, bass and even drums on the opening track, alongside a revolving cast of additional musicians. The songs are drawn from the traditional gospel catalog, though unless you’re deeply steeped in the genre, most of these titles will be new to you. The raw vitality of Welch’s guitar and voice remained unaffected by his fame or age, and were deeply ingrained by the six decades of music making that preceded his public acclaim. The band is flexible, as electric guitar, bass, drums, organ and backing vocals support and frame Welch in arrangements that aren’t always as juke joint raw as his previous albums. This is a terrific last testament from a one-of-a-kind gospel blues talent. [©2019 Hyperbolium]

Late Blossom Blues – The Journey of Leo “Bud” Welch

Saturday, May 5th, 2018

The incredible story of an 81-year-old blues rookie

When Leo “Bud” Welch burst onto the blues scene with his debut album Sabougla Voices, he was both an 81-year-old rookie and an elder statesman. The story of how he flew under the radar for sixty years, was discovered by a fan (who was subsequently thrust into the role of manager), recorded for a label that had all but given up believing there were any more blues unicorns in the wilds of Mississippi, and was feted in the last few years of his life, is as authentic and unexpected as is his music. The film weaves together interviews with Welch, his family and his manager, Vencie Varnado, along with performance and studio footage. The film looks at Welch’s background as a lumberjack, his church life, the separation he kept between the devil’s music and the lord’s, and the incursions of age into Welch’s daily life.

This is less a linear biography than a look at the whirlwind of worldwide activity that followed his discovery. Viktor Schaider’s cinematography is noteworthy as he captures formal and informal interview setups, indoor and outdoor performances, cinema verite action, and establishing shots that capture the feel of Welch’s native Mississippi. This is a fitting accompaniment to Welch’s two albums, helping to dispel the mystery that accompanied his arrival on the scene, and adding dimension to the bluesman heard on record. Make sure to check the extras for bonus interviews, live and archival footage, and watch all the way through the end credits for a riveting 1985 performance of “Praise His Name.” [©2018 Hyperbolium]

Late Blossom Blues Home Page

NRBQ: NRBQ

Monday, April 23rd, 2018

The 1969 debut of a polyglot music legend

Originally released in 1969, this debut outlined the wide musical grasp and irreverent sensibility that would grow the band’s legend over the next 49 years. 49 years in which this initial explosion of creativity sat in the vault unreissued. 49 years in which either the group’s continuing activity diverted their attention from a reissue, or in which lawyers intermittently haggled over muddy contractual rights. Either way, Omnivore has finally liberated the album from its resting place and reissued the fourteen songs in a tri-fold slipcase with original front and back cover art, Donn Adams period liner notes, and contemporary notes by Jay Berman. Berman characterizes the band’s repertoire, even at this early point in their career, as including “nearly anything,” and the eclectic mix of covers and originals bears that out.

This first studio lineup included long-time members Terry Adams and Joey Spampinato (the latter then credited as Jody St. Nicholas), along with vocalist Frank Gadler, guitarist Steve Ferguson and drummer Tom Staley. The group stakes out the audacious corners of their musical omniverance with covers of Eddie Cochran’s rockabilly “C’mon Everybody,” Sun Ra’s avant garde jazz “Rocket Number 9,” Sonny Terry and Brownie McGhee’s folk blues “C’mon If You’re Comin’” (which the group revisited on 1972’s Workshop), and a country soul arrangement of Bruce Channel’s 1962 chart topper, “Hey! Baby.” Few bands at the time would have even known this range of material, let alone find a way to make it fit together on an album.

The original material from Adams, Spaminato and Ferguson is equally ambitious. Adams mashes up trad jazz and rock ‘n’ roll for “Kentucky Slop,” boogies hard on “Mama Get Down Those Rock And Roll Shoes,” captures the melancholy of Carla Bley’s 1964 jazz instrumental “Ida Lupino” with original lyrics, and closes the album with the piano-led “Stay With Me.” Ferguson’s trio of originals include the pop and soul influences of “I Didn’t Know Myself,” the gospel rocker “Stomp” and the country, folk and gospel flavored “Fergie’s Prayer.” Spampinato offers the album’s most ebullient moment with “You Can’t Hide,” a title the band would revisit ten years later on Tiddlywinks.

The album’s collection of first takes (including the previously unreleased first take of “Stomp” substituting for the re-recorded version that appeared on the original vinyl) provides a snapshot of the band as they played live. The set list reflects the confluence of musical interests, knowledge and talent the band members brought to the group, and the performances have an all-in quality that made second takes superfluous. Whether or not the renditions were note-perfect (and they pretty much are), they were perfect expressions of the musical ethos that sustains the band to this day. It’s a shame that the originally released second take of “Stomp” wasn’t included as part of this reissue, but that’s a nit, given the historical and artistic riches that have been sprung from the vault. [©2018 Hyperbolium]

NRBQ’s Home Page

The Oak Ridge Boys: When I Sing For Him – The Complete Columbia Recordings & RCA Singles

Monday, April 16th, 2018

The pre- and post-MCA sides of the Oak Ridge Boys

Those who know the Oak Ridge Boys from the hit singles that began with 1977’s “Y’all Come Back Saloon” and ran through crossover icons “Elvira” and “Bobbie Sue,” may be surprised to find the group’s Southern gospel roots stretch back to the 1940s. Starting out as Wally Fowler and the Georgia Clodhoppers, they became the Oak Ridge Quartet, and then in the early ‘60s, the Oak Ridge Boys. The group’s best-known lineup came together in the early ‘70s when bass singer Richard Sterban and tenor Joe Bonsall joined mid-60s arrivals Duane Allen and William Lee Golden. It was this quartet that charted with Johnny Cash on the 1973 single “Praise the Lord and Pass the Soup” and eventually expanded from gospel to country hit making.

By 1974 the group had moved from the Heart Warming gospel label to the secular Columbia where they recorded the trio of albums anthologized here: The Oak Ridge Boys, Sky High, and Old Fashioned, Down Home, Hand Clappin’, Foot Stompin’, Southern Style, Gospel Quartet Music. The self-titled Columbia debut cracked the top 40, but the remaining two albums, despite quality material and performances, failed to chart. The group’s Columbia singles fared no better, with the first six failing to chart, and the seventh, “Family Reunion,” barely scraping onto the charts at #83. A large part of the group’s problem seems to have been Columbia’s lack of service to gospel radio, but their stylistic range, which included gospel harmony, MOR ballads, country and soul diluted their identity as gospel singers without providing a ready hook for secular radio.

Which is a shame, because the singles and albums deserved an audience. The group’s debut single for Columbia, the Grammy-winning “The Baptism of Jesse Taylor,” could easily have fit country radio in 1973, but it was a year or two late to mingle with the God Rock pop hits of 1971-2. Kris Kristofferson’s “Why Me” hasn’t the wasted soul of the original, but it was a canny pick for a cover, as was their non-charting take on Paul Simon’s “Loves Me Like a Rock.” The group turned soulful with Allen Toussaint’s widely covered “Freedom for the Stallion,” and the debut album’s “Give Me a Star” provides a powerful close to the debut Columbia album. Their sophomore effort opens with the album’s non-charting single “Rhythm Guitar,” featuring honky-tonk piano and a terrific bass vocal.

The opening verse of “Nobody Special” briefly shows off the quartet’s vocal blend in an a cappella arrangement that could have supported the entire track (or an album!). Porter Wagoner’s “When I Sing For Him” gave lead vocalist Duane Allen an opportunity to really soar, a performance so moving that Wagoner asked him to sing the song at his funeral, which he did in 2007. Beyond the album’s songs of praise, the group offers Christian life principles in “We Gotta Love One Another” and “Plant a Seed,” essaying the pitfalls of part-time faith. The closing “Mighty Fine” would have made a catchy second single, had Columbia been more interested in promoting the group. Disc one is filled out with six bonus tracks that include a pair of vault tracks from All Our Favorite Songs, the singles “Heaven Bound.” and “Praise the Lord and Pass the Soup,” and the B-side “Look Away Mama.”

Disc two opens with the ten tracks of the group’s third Columbia album, and features a second collaboration with Johnny Cash on his original “No Earthly Good.” The non-charting single “Where the Soul Never Dies” and “Jesus Knows Who I Am” offer revival tent zest, but the album’s split between old-timey gospel, country-flavored numbers and middle-of-the-road ballads doesn’t quite live up to the collection’s home-spun title. As with the previous two albums, the breadth is admirable, but it plays more like a variety show than a group’s album. The final two Columbia singles, David Allan Coe’s “Family Reunion” and George Jones’ “All Our Favorite Songs” are included along with their B-sides.

The group moved from Columbia to Dot in 1977, then to Dot’s parent, ABC, and then to ABC’s parent MCA, minted the biggest hit albums and singles of their career. In 1990, with Steve Sanders having replaced William Lee Golden as the group’s baritone, the group signed with RCA and released Unstoppable and The Long Haul. Disc 2 is filled out with four RCA singles from this period, including a grandiose cover of Mann & Weil’s Brill Building classic “(You’re My) Soul And Inspiration,” the country hit “Lucky Moon,” its bluesy B-side take on “Walking After Midnight” and the fine, but low-charting “Fall.” The set closes with a funky cover of “Go Tell it on the Mountain,” drawn from Sounds of the Season.

The Columbia sides show the group branching out from their gospel roots, but not yet fully committing themselves to the country market. As Joe Bonsall opines in Joe Marchese’s detailed liner notes, “Those were the days when we rode the fence musically trying to appease everyone… Although some of the songs were really cool, we just couldn’t seem to gain any real traction.” This set provides bookends for the group’s hit years on MCA, showing how they expanded their material and style from gospel to pop, rock, country and soul without ever dropping the thread of faith. Their Columbia material didn’t produced the mainstream fame they’d find on MCA, but it opened their ears to the opportunity that lay just ahead. [©2018 Hyperbolium]

The Oak Ridge Boys’ Home Page

6 String Drag: High Hat

Thursday, April 5th, 2018

Long-lost 1997 Americana swan song finally back in print

By the time 6 String Drag caught the attention of Steve Earle and his producing partner Ray Kennedy, the band’s initial run was nearly over. Although they’d pioneered their sound in the middle of the Americana movement, this 1997 sophomore release on Earle and Kennedy’s E-Squared label would be their last album of new material until 2015’s reunion, Roots Rock & Roll, and the recent follow-up, Top of the World. With the band back in action, the time was right for a remaster and reissue of this classic, on CD, digital download, and for the first time ever, vinyl. The album finds vocalist Kenny Roby and the band stretching out across a variety of American sounds, including country, rock, southern boogie, rockabilly, bluegrass, trad jazz, soul and gospel, exploring the rootsy polyglot ground tilled by NRBQ, Rockpile and others. “Driven Man” has the meter and wordiness of an Elvis Costello song, and the addition of horns on several tracks gives the album a fuller sound than the group’s self-titled debut. The group’s abbreviated first life temporarily cut short a talented musical collective, but more lastingly seems to have consigned this shining moment to undeserved obscurity. Hopefully this 2018 reissue, augmented with a previously unreleased cover of the Louvin Brothers’ “Lorene,” will restore the album to its rightful place in the Americana canon, and point new listeners to the group’s renewed lineup. [©2018 Hyperbolium]

6 String Drag’s Home Page

Rosebud: Rosebud

Friday, June 23rd, 2017

Bonus-laden reissue of 1971 one-off w/Judy Henske and Jerry Yester

Although Henske and Yester are both well-known, this one-off collaboration under the group name “Rosebud” has remained surprisingly obscure. Henske had come up through the coffee houses and folk revival of the early ‘60s, notching a pair of albums for the Elektra label in 1963-4. Yester had likewise played the folk clubs, with his brother Jim and as a member of the New Christy Minstrels and Modern Folk Quartet, before finding even greater commercial success as a producer. Henske, Yester and Zal Yanovsky (whom Yester had replaced in the Lovin’ Spoonful) released the eclectic Farewell Aldebaran on Frank Zappa’s Straight label, and two years later Henske and Yester teamed with Craig Doerge, David Vaught and John Seiter for this short-lived group’s one and only album.

Rosebud retains the musical eclecticism of Farewell Aldebaran, though not its sonic experimentation. The album is highlighted by the group’s tight execution of Yester’s superb vocal charts, and though Henske’s extraordinary voice is prominently featured, Yester, Doerge and Seiter all get leads. The songs, written by various groupings of Henske, Yester and Doerge, fit the singer-songwriter vibe of early ‘70s Southern California, with touches of country rock and 1960s San Francisco. “Roll Home Cheyanne” is redolent with the atmosphere of big sky country, and “Reno” (included here in both its album and single versions) would have fit easily into the Jefferson Airplane’s set. The harmonies take a baroque turn for the harpsichord-lined “Lullabye II” and to gospel rock with “Salvation.”

The album’s emotional high point comes in the chorus of “Western Wisconsin” as the group’s harmony singing vanquishes any hint of treacle in the lyrics’ sentiment. The legendary steel player Buddy Emmons is heard on “Yum Yum Man,” and again on the bonus track “Easy On Me, Easy.” Though justly proud of their album, the group split after only a few live performances, amid Henske’s separation from Yester, and before the group gained any traction. Most listeners will be surprised by the group’s mere existence, but those already familiar with the album will be shocked by the quality of the material that was left in the vault. Omnivore doubles the album’s original ten tracks with singles and seven previously unreleased recordings, along with new liners by Barry Alfonso. [©2017 Hyperbolium]

Craig Doerge’s Home Page
Judy Henske’s Home Page
Jerry Yester’s Home Page

In Memoriam: 2016

Monday, December 26th, 2016

Merle Haggard, 1937-2016

Listen to a selection of these artists on Spotify

January
Tony Lane, art director (Rolling Stone) and album cover designer
Brad Fuller, composer and music director (Atari)
Paul Bley, jazz pianist
Jason Mackenroth, rock drummer (Mother Superior, Rollins Band)
Long John Hunter, blues guitarist, vocalist and songwriter
Georgette Twain Seiff, hall-of-fame banjo player
Robert Stigwood, manager and film producer
Nicholas Caldwell, R&B vocalist (The Whispers) and songwriter (“Lady”)
Elizabeth Swados, writer, composer and theater director (“Runaways”)
Alfredo “Chocolate” Armenteros, jazz and salsa trumpeter
Pat Harrington Jr., actor and comedy recording artist (Some Like it Hip!)
Kitty Kallen, vocalist (“It’s Been a Long, Long Time”)
Troy Shondell, pop vocalist (“This Time (We’re Really Breaking Up)”)
Otis Clay, soul vocalist (“Trying to Live My Life Without You”)
Red Simpson, country vocalist and songwriter
Brett Smiley, glam rock vocalist (“Va Va Va Voom”)
Ed Stewart, radio broadcaster and television presenter (Top of the Pops)
David Bowie, vocalist and songwriter
Joe Moscheo, gospel vocalist (The Imperials) and industry executive
Giorgio Gomelsky, club owner, manager, producer and label owner
Hoyt Scoggins, country and rockabilly vocalist and songwriter
René Angélil, impresario and manager (Celine Dion)
Noreen Corcoran, actress (Bachelor Father) and vocalist (“Love Kitten”)
Pete Huttlinger, guitar virtuoso
Gary Loizzo, pop vocalist and guitarist (The American Breed)
Clarence “Blowfly” Reid, musician, songwriter and producer
Mic Gillette, brass player (Tower of Power)
Dale Griffin, rock drummer (Mott the Hoople)
Ramblin’ Lou Schriver, radio broadcaster, musician and concert promoter
Glenn Frey, vocalist, songwriter and guitarist (The Eagles)
Andrew Johnson, album cover artist (The The)
Jimmy Bain, rock bassist (Dio, Rainbow)
Joe Esposito, road manager (Elvis Presley) and Memphis Mafia member
Colin “Black” Vearncombe, vocalist and songwriter (“Wonderful Life”)
William E. Martin, songwriter (Monkees), screenwriter and voice actor
Signe Toly Anderson, vocalist (Jefferson Airplane)
Paul Kantner, vocalist, songwriter and guitarist (Jefferson Airplane)
Billy Faier, banjo player

February
Maurice White, vocalist, songwriter and producer (Earth, Wind & Fire)
Leslie Bassett, Pulitzer Prize-winning composer
Bobby Caldwell, keyboardist (Terry Knight and the Pack)
Joe Dowell, pop vocalist (“Wooden Heart”)
Jimmy Haskell, arranger, composer, producer and bandleader
Ray Colcord, film and television composer, producer and musician
Dan Hicks, vocalist and songwriter
Sam Spence, composer (NFL Films)
Obrey Wilson, soul vocalist (“Hey There Mountain”)
Rick Wright, country guitarist (Connie Smith)
Roy Harris, British folk vocalist
Kim Williams, country songwriter (“Three Wooden Crosses”)
L.C. Ulmer, blues musician
Denise “Vanity” Matthews, vocalist (Vanity 6), actress and evangelist
Joyce Paul, country vocalist (“Phone Call to Mama”)
Ray West, Emmy and Oscar-winning sound engineer (Star Wars)
Paul Gordon, keyboardist and composer
Brendan Healy, actor and musician (Goldie, Lindesfarne)
Vi Subversa, vocalist and guitarist (Poison Girls)
Charlie Tuna, radio broadcaster (KHJ, KROQ, KIIS, KBIG)
Buck Rambo, gospel vocalist
Sonny James, country vocalist and songwriter
Lennie Baker, vocalist and saxophonist (Danny & The Juniors, Sha Na Na)
John Chilton, jazz trumpeter and music historian
Craig Windham, radio broadcaster (NPR)

March
Gayle McCormick, vocalist (Smith ”Baby It’s You”)
Martha Wright, vocalist and actress (South Pacific, The Sound of Music)
Gavin Christopher, R&B vocalist and songwriter
Joey Feek, country vocalist (Joey + Rory)
Chip Hooper, agent (Phish, Dave Matthews Band)
Ireng Maulana, jazz guitarist
Joe Cabot, jazz trumpeter
Bruce Geduldig, synthesist and filmmaker (Tuxedomoon)
Timothy Makaya, jazz guitarist
Ross Hannaford, rock guitarist (Daddy Cool)
Ron Jacobs, radio broadcaster (Boss Radio KHJ, American Top 40)
Sir George Martin, producer
Jon English, musician and actor
Ray Griff, country vocalist
John Morthland, music journalist
Naná Vasconcelos, Latin jazz percussionist
Ernestine Anderson, jazz vocalist
Keith Emerson, progressive rock keyboardist
Gogi Grant, pop vocalist
Ben Bagdikian, educator, journalist and media critic
Ben Edmonds, music journalist
Louis Meyers, promoter (co-founder of SXSW) and manager
Tommy Brown, R&B vocalist (The Griffin Brothers)
Lee Andrews, doo-wop vocalist and father of Questlove
Frank Sinatra Jr., vocalist and actor, son of Frank Sinatra
Steve Young, country vocalist and songwriter (“Seven Bridges Road”)
David Egan, songwriter and pianist
Ned Miller, country vocalist and songwriter
Terry James Johnson, drummer (Bar-Kays) and clinical psychologist
Phife Dawg, rapper (A Tribe Called Quest)
James Jamerson Jr., R&B bassist (Chanson)
Jimmy Riley, reggae musician (The Sensations and the Uniques)
David Baker, symphonic jazz composer, musician and educator
Wally Crouter, Canadian radio legend (CFRB)
Patty Duke, actress and vocalist
Andy Newman, pianist (Thunderclap Newman)
Larry Payton, drummer (Brass Construction)

April
Gato Barbieri, jazz saxophonist
Don Francks, jazz musician and actor
Bill Henderson, jazz vocalist and actor
Carlo Mastrangelo, doo-wop and progressive rock vocalist
Dorothy Schwartz, pop vocalist (The Chordettes)
Leon Haywood, soul and funk vocalist
Dennis Davis, rock drummer (David Bowie)
Merle Haggard, country vocalist, guitarist and songwriter
Jimmie Van Zant, southern rock musician, cousin of Ronnie Van Zant
Earl Solomon Burroughs, musician and songwriter (“Great Balls of Fire”)
Jim Ridley, editor, critic and journalist (Nashville Scene)
Tony Conrad, experimental musician
Doug Banks, radio broadcaster (KDAY, KFI, KDIA)
Emile Ford, pop musician and sound engineer
David Gest, producer and former husband of Liza Minnelli
Gib Guilbeau, country-rock musician (Nashville West)
Filthy McNasty, nightclub owner
Mariano Mores, Argentine tango composer, pianist and conductor
Phil Sayer, British voice artist (“Mind the Gap”)
Vandy Anderson, radio broadcaster (KULF, KGBC)
Elliot Spitzer, radio executive (WLIR-FM)
Lord Tanamo, ska and mento musician
Richard Lyons, culture jammer (Negativland)
Pete Zorn, multi-instrumentalist (Richard Thompson Band)
Victoria Wood, actress, vocalist and songwriter
Lonnie Mack, guitarist, vocalist and songwriter (“Wham”)
Prince, vocalist, songwriter and multi-instrumentalist
Billy Paul, R&B vocalist (“Me & Mrs. Jones”)
Remo Belli, jazz drummer and inventor of the synthetic drumhead
Harrison Calloway, musician and bandleader (Muscle Shoals Horns)

May
Candye Kane, blues and swing vocalist and songwriter
John Stabb, punk rock vocalist (Government Issue)
Peter Behrens, drummer (Trio)
Tony Gable, percussionist and graphic designer
Julius La Rosa, pop vocalist
Buster Cooper, jazz trombonist
Bill Backer, jingle writer (“I’d Like to Teach the World to Sing”)
Tony Barrow, press officer (The Beatles)
Johnny Sea, country vocalist (“Day For Decision”)
Emilio Navaira, tejano and country vocalist, guitarist and songwriter
Guy Clark, singer and songwriter
John Berry, punk rock guitarist (Beastie Boys)
James King, bluegrass musician
Nick Menza, rock drummer (Megadeth)
Marshall Jones, bassist (Ohio Players)
Floyd Robinson, country vocalist and songwriter (“Makin’ Love”)
Rick Vanaugh, country drummer (The Time Jumpers)

June
Alan Wise, promoter and manager (Factory Records)
Muhammed Ali, boxer and spoken word artist (“I Am the Greatest”)
Mac Cocker, radio broadcaster (Australia’s Double J)
Mark Parenteau, radio broadcaster (WBCN)
Dave Swarbrick, violinist, vocalist and songwriter (Fairport Convention)
Bobby Curtola, Canadian teen idol (“Hand in Hand With You”)
Dan Sorkin, radio broadcaster (WCFL, KFRC, KSFO)
Brian Rading, rock bassist (Five Man Electrical Band)
Christina Grimmie, vocalist and songwriter (The Voice)
Chips Moman, songwriter and producer
Henry McCullough, rock guitarist (Grease Band, Spooky Tooth, Wings)
Charles Thompson, jazz pianist and organist
Attrell Cordes, hip-hop, soul and R&B artist (P.M. Dawn)
Tenor Fly, rapper and ragga vocliast
Bill Ham, manager, producer and songwriter (ZZ Top)
”Dandy” Dan Daniel, radio broadcaster (WMCA, WYNY, WCBS)
Wayne Jackson, R&B trumpeter (Mar-Keys, Memphis Horns)
Freddy Powers, country songwriter and producer
Leo Brennan, Irish musical patriarch
Harry Rabinowitz, conductor (Chariots of Fire) and composer (I, Claudius)
Dr. Ralph Stanley, mountain music banjoist, vocalist and songwriter
Bernie Worrell, keyboardist and composer (Parliament-Funkadelic)
Mack Rice, songwriter (“Mustang Sally” “Respect Yourself”)
Scotty Moore, rock ‘n’ roll guitarist
Rob Wasserman, bassist
Don Friedman, jazz pianist

July
Teddy Rooney, actor, musician and son of Mickey Rooney
Bob Goldstone, music industry executive (Thirty Tigers)
William Hawkins, poet and songwriter
Danny Smythe, rock drummer (The Box Tops)
Vaughn Harper, radio broadcaster (WBLS “The Quiet Storm”)
Carole Switala, vocalist and puppeteer (Mr. Rogers’ Neighborhood)
Steve Young, musician (Colourbox, MARRS) and songwriter
Johnny Craviotto, rock drummer and drum maker
Charles Davis, jazz saxophonist
Bonnie Brown, country vocalist (The Browns)
Alan Vega, vocalist, songwriter (Suicide) and visual artist
Claude Williamson, jazz pianist
Gary S. Paxton, vocalist, songwriter and producer
Fred Tomlinson, vocalist and songwriter (“The Lumberjack Song”)
John Pidgeon, rock music writer and BBC radio executive
Lewie Steinberg, R&B bassist (Booker T. & the M.G.’s)
George Reznik, jazz pianist
Marni Nixon, playback vocalist (West Side Story, My Fair Lady) and actress
Roye Albrighton, vocalist and guitarist (Nektar)
Allan Barnes, jazz saxophonist (The Blackbyrds)
Sandy Pearlman, writer, producer and manager (Blue Oyster Cult)
Lucille Dumont, vocalist, songwriter and television star
Nigel Gray, record producer (The Police, Siouxsie and the Banshees)
Penny Lang, folk musician

August
Ricci Martin, musician, entertainer and son of Dean Martin
Patrice Munsel, coloratura soprano
Richard Fagan, songwriter (“Sold (The Grundy County Auction Incident)”)
Pete Fountain, jazz clarinetist
B.E. Taylor, pop vocalist and songwriter (“Vitamin L”)
Ruby Winters, soul vocalist (“Make Love to Me” “I Don’t Want to Cry”)
Padraig Duggan, folk musician (Clannad, The Duggans)
Glenn Yarbrough, vocalist and songwriter
David Enthoven, manager and record label executive
Ruby Wilson, blues vocalist
Connie Crothers, jazz pianist
Bobby Hutcherson, jazz vibraphonist
Preston Hubbard, bassist (Roomful of Blues, Fabulous Thunderbirds)
Lou Pearlman, producer and manager (Backstreet Boys, *NSYNC)
Irving Fields, pianist, composer and bandleader (Bagles and Bongos)
Matt Roberts, rock guitarist (3 Doors Down)
Tom Searle, guitarist (The Architects)
Louis Stewart, jazz guitarist
Headley Bennett, reggae saxophonist
Derek Smith, jazz pianist
Gilli Smythe, vocalist (Gong)
Toots Thielemans, harmonica player, guitarist and whistler
Rudy Van Gelder, recording engineer (Bluenote)
Monty Lee Wilkes, sound engineer (The Replacements, Nirvana)
Hubert Dwane “Hoot” Hester, country and bluegrass fiddler

September
Fred Hellerman, folk singer, songwriter and guitarist (The Weavers)
Kacey Jones, singer, songwriter and humorist
Jerry Heller, agent, promoter and manager (N.W.A.)
Bud Isaacs, steel guitarist
Lewis Merenstein, producer (Van Morrison, Gladys Knight, John Cale)
Clifford Curry, R&B vocalist (“She Shot a Hole in My Soul”)
Prince Buster, ska singer-songwriter and producer (“One Step Beyond”)
”Crazy” Eddie Antar, electronics retailer
Chris Stone, studio owner (The Record Plant)
Leonard Haze, rock drummer (Y&T)
Don Buchla, pioneering synthesizer designer
Jerry Corbetta, vocalist, keyboardist and songwriter (Sugarloaf)
Trisco Pearson, R&B vocalist (Force M.D.’s)
Charmian Carr, actress and vocalist (The Sound of Music)
Micki Marlo, vocalist (“What You’ve Done To Me” “Little By Little”)
John D. Loudermilk, songwriter and vocalist (“Tobacco Road”)
Richard D. Trentlage, jingle writer (Oscar Mayer, McDonald’s)
Rob Meurer, vocalist and songwriter (Christopher Cross)
Stanley “Buckwheat Zydeco” Dural Jr, zydeco accordionist
Kashif, R&B vocalist, instrumentalist, producer and songwriter
Jean Shepard, country vocalist and songwriter
Joe Clay, rockabilly vocalist and guitarist
Royal Torrence, soul vocalist (Little Royal and the Swingmasters)
Nora Dean, reggae and gospel vocalist (“Barbwire”)
Oscar Brand, folk vocalist and songwriter, radio host (WNYC)
Michael Casswell, session guitarist (Brian May)

October
Joan Marie Johnson, pop vocalist (The Dixie Cups)
Caroline Crawley, vocalist (Shelleyan Orphan, This Mortal Coil)
Rod Temperton, keyboardist and songwriter (“Thriller” “Off the Wall”)
Peter Allen, radio broadcaster (Metropolitan Opera)
Don Ciccone, pop vocalist (The Critters) and songwriter
Leo Beranek, acoustic engineer and co-founder of BB&N
Robert Bateman, songwriter (“Please Mr. Postman”), vocalist (Satintones)
Sonny Sanders, songwriter, arranger and vocalist (Satintones)
Robert Edwards, R&B vocalist (The Intruders)
Ted V. Mikels, filmmaker and record label owner
Phil Chess, producer and record company executive
Chris Porter, americana vocalist, songwriter and guitarist
Mitchell Vandenburg, americana bassist and songwriter
Dave Cash, radio broadcaster (Radio London, BBC Radio 1)
Herb “The Cool Gent” Kent, radio broadcaster (WVON, WJJD and V103)
Pete Burns, vocalist and songwriter (Dead or Alive)
Bobby Vee, pop vocalist
Hazel Shermet, actress and singer (New Zoo Revue’s Henrietta Hippo)
John Zacherle, TV host, recording artist and radio broadcaster
Ron Grant, film and television composer (Knot’s Landing)
Tammy Grimes, actress and vocalist (The Unsinkable Molly Brown)
Curly Putman, country songwriter (“Green, Green Grass of Home”)

November
Bap Kennedy, vocalist and songwriter
Bob Cranshaw, jazz bassist
Kay Starr, pop and jazz vocalist
Jean-Jacques Perrey, electronic music producer
Laurent Pardo, bassist (Elliott Murphy’s Normandy All-Stars)
Sir Jimmy Young, radio host (BBC Radio 1 and 2) and vocalist
Al Caiola, guitarist, composer and arranger
Leonard Cohen, vocalist, songwriter, poet and novelist
Raynoma Gordy Singleton, songwriter and second wife of Barry Gordy Jr.
Billy Miller, magazine publisher (Kicks) and record label owner (Norton)
Leon Russell, vocalist, pianist and songwriter
Holly Dunn, country vocalist and songwriter
David Mancuso, disc jockey and private party host (The Loft)
Mose Allison, jazz pianist, vocalist and songwriter
Cliff Barrows, musical director (Billy Graham Evangelistic Association)
Milt Okun, producer, arranger, conductor and publisher
Don Waller, music journalist and vocalist
Mentor Williams, songwriter (“Drift Away”), producer and engineer
Sharon Jones, soul vocalist (The Dap Kings)
Al Batten, bluegrass banjo player and band leader
Hod O’Brien, jazz pianist
Craig Gill, rock drummer (Inspiral Carpets)
Al Broadax, television and film producer (The Beatles, Yellow Submarine)
Florence Henderson, actress and vocalist
Pauline Oliveros, composer, educator and accordionist
Tony Martell, record industry executive (CBS Records) and philanthropist
Ray Columbus, vocalist, songwriter, manager and television host
Carlton Kitto, jazz guitarist

December
Mickey Fitz, punk rock vocalist (The Business)
Mark Gray, country vocalist and songwriter (“Take Me Down”)
Herbert Hardesty, saxophonist (Fats Domino, Dave Bartholomew)
Wayne Duncan, bassist and vocalist (Daddy Cool)
Mohamed Tahar Fergani, Algerian vocalist, violinist and composer
Greg Lake, vocalist, bassist and songwriter (King Crimson, EL&P)
Palani Vaughan, Hawaiian vocalist and songwriter
George Mantalis, pop vocalist (The Four Coins)
Valerie Gell, rock ‘n’ roll vocalist and guitarist (The Liverbirds)
Bob Krasnow, record executive and co-founder of the R’n’R Hall of Fame
Joe Ligon, gospel vocalist (Mighty Clouds of Joy)
Barrelhouse Chuck, blues vocalist, songwriter and pianist
Jim Lowe, songwriter (“The Green Door”) and radio broadcaster
Ahuva Ozeri, Israeli singer-songwriter
Betsy Pecanins, blues singer and songwriter
Päivi Paunu, vocalist and Eurovision contestant (“Muistathan”)
Bunny Walters, Maori pop vocalist (“Brandy” “Take the Money and Run”)
Fran Jeffries, vocalist, dancer and actress (The Pink Panther)
John Chelew, producer and concert promoter (McCabe’s Guitar Shop)
Bob Coburn, radio broadcaster (“Rockline,” KLOS)
Léo Marjane, French vocalist (“Seule ce soir”)
Gustavo Quintero, Columbian singer-songwriter
Gordie Tapp, radio broadcaster and television performer (Hee Haw)
Andrew Dorff, country songwriter (“My Eyes” “Somebody’s Heartbreak”)
Dick Latessa, actor and Tony winner (Hairspray)
Sam Leach, concert promoter (The Beatles)
Betty Loo Taylor, jazz pianist
Frank Murray, manager (The Pogues) and tour manager
Mick Zane, rock guitarist (Malice)
Rick Parfitt, vocalist, songwriter and guitarist (Status Quo)
George Michael, pop vocalist and songwriter
George S. Irving, musical theater and voice actor
Alphonse Mouzan, jazz drummer
Pierre Barouh, lyricist (A Man and a Woman), composer and actor
Debbie Reynolds, actress and vocalist
Billie Joe Burnette, country vocalist and songwriter (“Teddy Bear”)
Rich Conaty, radio broadcaster (WFUV’s The Big Broadcast)
Allan Williams, booking agent and manager (The Beatles)
Johnny Canton, radio broadcaster (WDGY, WCCO)
David Meltzer, poet and jazz guitarist

The Blind Boys of Alabama: Atom Bomb

Wednesday, December 7th, 2016

blindboysofalabama_atombombReissue of post-Grammy album of gospel and faithful pop

After a four album Grammy run from Spirit of the Century through the Ben Harper-produced There Will Be a Light, the group re-teamed with producer John Chelew for this 2005 release. As on the preceding albums, the material was selected from a wide range of sources, the group’s gospel singing was combined with pop, rap, R&B and blues, and the studio welcomed guests that included harmonica legend Charlie Musselwhite, keyboard player Billy Preston and guitarist David Hidalgo. Unlike the star-fronted Go Tell It on the Mountain, the guests here support the Blind Boys’ lead vocals. If you liked the reach of the Grammy run, you’ll enjoy how the rich gospel harmonies are spent on both standards and pop songs of faith, including Norman Greenbaum’s “Spirit in the Sky” and Blind Faith’s “Presence of the Lord.” Omnivore’s 2016 reissue adds instrumental versions of seven album tracks and new liner notes by David Seay, providing a nice upgrade to those who already have the original release. [©2016 Hyperbolium]

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