Mahalia Jackson - I Believe

Hey everybody... church is in!

Continuing with our look at Mahalia Jackson today, we have a fine album from her Columbia years.  We have discerned that this period wasn't her best or most consistent artistically.  That said, there are some gems amongst the stones and in my opinion, I Believe is one of them.

The focus is truly on Jackson's voice, with piano accompaniment provided by long time foil Mildred Falls.  Along with this there is a wonderful choir providing harmony, background and rich, warm vibes.  In and out of this there is some orchestration which works surprisingly well.

One interesting thing is how short the album is - only a bit over 30 minutes.  This means that all but one tune is over 3 minutes.  Combined with Mahalia's interpretation,  it has the feel of something closer to a pop record.  Not sure if this was their intent but surely there were commercial considerations made.  I find that overall, the greatest gospel singer in the world, is as assured and soulful as ever.  It's the expressive and emotive sound of her voice which rescues these sides from simply being blahzay muzak.

This mono LP cleaned up really nicely.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

Columbia ‎– CL1549

1960

A1  Trouble  3:03

A2  I Believe  3:05

A3  I'm Grateful  3:52

A4  I See God  3:20

A5  Holding My Saviour's Hand  3:15

B1  Somebody Bigger Than You And I  3:00

B2  I Asked The Lord  2:56

B3  I Hear Angels  4:44

B4  Always Look Up  3:12

The Best of Austin City Limits: Big Blues Extravaganza!

Pretty self-explanatory, great line up of artists performing live on the set of Austin City Limits.  Ripped from my CD with EAC to FLAC.  Scans includes a fold out poster... enjoy!!!


1. Albert Collins - Travelin' South  4:39
2. Lightnin' Hopkins - Rock Me Baby  3:48
3. Stevie Ray Vaughan - Love Struck Baby  3:02
4. Jimmie Vaughan and the Tilt-A-Whirl Band - Six Strings Down  4:16
5. Miss Lavelle White - I've Never Found a Man to Love  3:35
6. Keb' Mo' - Tell Everybody I Know  3:31
7. Clarence "Gatemouth" Brown - Born in Louisiana  4:20
8. Dr. John - Since I Fell for You  4:36
9. Buddy Guy - Mary Had a Little Lamb   5:30
10. Taj Mahal - Queen Bee  5:48
11. The Neville Brothers - Yellow Moon  6:14
12. Rory Block - Big Road Blues  2:15
13. W. C. Clark - Ain't It Funny How Time Slips Away  5:31
14. B. B. King - Night Life  6:17
15. Delbert McClinton - Leap of Faith  4:02

Mahalia Jackson - Bless This House

I am really excited to be sharing this classic Mahalia album this morning.  This is one of her earlier releases and is closer in result to her Apollo sides.  Of course, we all know what that means!!

Miss Jackson is belting it out on blues and jazz inflected tunes.  Like all of her best Columbia albums, she is backed by the Falls - Jones Ensemble who give her that real church vibe.  This record is not to be missed... not just by fans but by anybody with a stake in soulful music.

This vinyl wasn't in the greatest shape but it cleaned up nicely.  There's no mistaking that you're listening to a record.  That said, the fidelity really trumps any analog noise and that big, soaring voice shadows all.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

Bless This House was released in 1956 and features Mahalia Jackson and the Falls-Jones Ensemble. This LP is a favorite of the gospel purists who feel alienated by Jackson's collaborations with pop artists like Percy Faith and Harpo Marx. The songs on Bless This House feature great supporting performances by pianist Mildred Falls and organist Ralph Jones. Highlights include a jazzy, swinging "Let the Church Roll On," a dark, bluesy "Trouble With the Word," and energetic versions of "Down By the Riverside" and "It Don't Cost Very Much." Bless This House includes some of Jackson's most serious offerings and reflects the influence of blues singers Bessie Smith and Ma Rainey on her vocal style. A great introduction to Jackson's joyous, religious music and a good beginning for new listeners. - J.T. Griffith / AMG

Columbia Records, 1956
CL 899

Mahalia Jackson - vocals;  Mildred Falls - piano;  Ralph Jones - organ

A1 Let The Church Roll On
A2 God Knows The Reason Why
A3 Standing Here Wondering Which Way To Go
A4 By His Word
A5 Trouble With The World
A6 Bless This House
B1 It Don't Cost Very Much
B2 Summertime And Sometimes I Feel Like A Motherless Child
B3 Just A Little While To Stay Here
B4 Precious Lord
B5 Down By The Riverside
B6 The Lord's Prayer

Mahalia Jackson Sings The Best Loved Hymns Of Dr. Martin Luther King Jr

Well, I found this album in a local thrift last week and decided it was more than coincidence.  That's right folks, this was... DIVINE INTERVENTION!!!  For those of you who frequent this joint, you will recall the series I had began with Miss Jackson.  I have decided to get that movin again so you can expect an offering every Sunday until I am tapped.

I couldn't find a decent review on this album so I will say a few things.  If you were smart enough to DL the Apollo set, then you have whats necessary to understand what happened in Mahalia's career.  These Columbia albums represent the peak of her fame, but in contrast with her early work, not the peak of her best music.

The "smart" minds behind the label wanted to extend her popularity and of course referred to the handbook while doing so.  Most of the Columbia albums have a few strong moments but fail as being an overall exciting listen.  There are a couple exceptions such as the amazing "Worlds Greatest..." and this album which I am sharing today.

I think everybody knows the relationship that Jackson had with the great doctor.  She famously sang at his funeral and during his life, considered each other friends.  So fitting is this tribute which stands as one of her best albums in my opinion.  The music sticks to the nitty gritty and at times gets close to some gutter blues!!!  All that said, I am highly recommending this album to everybody who stops into this blog.

The back cover contains a wonderful Q&A style interview so be sure to check it out.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  I have begun using Click Repair which was needed on this one so BIG BIG thanks to KC.  Enjoy!!!!

Columbia ‎– CS 9686
1968

A1 We Shall Overcome
A2 Take My Hand Precious Lord
A3 Just A Closer Walk With Thee
A4 There Is A Balm In Gilead
A5 The Old Rugged Cross
B1 Rock Of Ages
B2 How I Got Over
B3 If I Can Help Somebody
B4 He's Got The Whole World In His Hands
B5 An Evening Prayer

Gotta Serve Somebody: The Gospel Songs Of Bob Dylan

Brothaz an' Sistaz!!

I think we can take a short hiatus from the Mahalia project.  After seeing KC's Dylan post, I really wanted to share this one.  Perhaps that list will change a bit now KC?  

An outstanding album recorded with gorgeous fidelity.  Ripped from CD using EAC to 16/44.1 FLAC.  All scans are included as well... enjoy!!

Rance Allen

The concept of a compilation of Bob Dylan's gospel songs is certainly an idea whose time has come. That this does not feature Dylan performing the original versions of these songs is yet another. Executive producer Jeffrey Gaskill assembled a wide-ranging assortment of the hottest talent in the gospel arena, both past and present, to perform the songs from Dylan's Slow Train Coming and Saved albums, and producer Joel Moss extracted phenomenal performances from Shirley Caesar, the Fairfield Four, the Sounds of Blackness, Rance Allen, the Chicago Mass Choir fronted by Regina McCrary (who sang backup for Dylan on the 1978 and 1979 tours when these recordings were originally done), the Mighty Clouds of Joy, Helen Baylor (with Billy Preston), Aaron Neville, Dottie Peoples, Lee Williams & the Spiritual QC's, Mavis Staples, and Dylan himself (performing a duet on a completely rewritten version of "Gonna Change My Way of Thinkin'"). In addition, a reunion of Dylan's touring band from the period, which included Tim Drummond, Jim Keltner, and Spooner Oldham, performs on "Solid Rock" with the Sounds of Blackness. All of this is interesting, of course, but listeners know that all-star tributes fall short more often than not. This is no tribute, however, but a showcase of Dylan as one of the great gospel songwriters -- albeit 25 years after the fact. 

Caesar's version of the title track is a scorcher and would not have been out of place in a church pastored by James Cleveland.  The Sounds of Blackness' "Solid Rock" does indeed rock -- it's funky, driving, and wrapped loosely around a minor-key trill and riff

Mavis Staples

pulsing just ahead of the beat. Lee Williams & the Spiritual QC's' sweet, swinging read of "When You Gonna Wake Up" is smooth and haunting, like a more streetwise version of the Impressions, giving the groove in the tune a bluesier edge than the original. Peoples' "I Believe in You" could be a testimony in church, full of understated phrasing until she gets to the refrains when it breaks and the redemptive hope in the tune comes pouring from the center of her voice. The Fairfield Four's read of "Are You Ready" is standard fare for them, meaning, of course, that the performance is beautiful, stirring, and moving, but it is less recognizable as a Dylan tune than anything else here.  Neville's "Saving Grace" suffers from his now overly sweet trademark manner of phrasing. Detroit's Rance Allen kicks it on "When He Returns." His baritone is reminiscent of C.L. Franklin's, and comes from the heart of the church. He understands this is a song of great hope and personal conviction. The slight quaver in his voice at the refrain reverses the track on itself; the listener can feel something of a universal connection to the grain in his voice which, at least for Allen, and Dylan too, is not a relative but an absolute truth. The set closes with the Dylan/Staples duet. Performed by Dylan's own touring band, this is a house-burning blues, ripping in the dark, razor-cut of Dylan's voice. Staples wanders in after about a minute, and after a pleasant and

Shirley Caesar 

humorous exchange, joins Dylan on the funkiest, most apocalyptic track on the set. This is raw, furious, scorching blues-funk. This is not an exercise in reverence but revelation, the roar of struggle and resolution, with the singers staring into the void and seeing the blackness and horror, retreating from the edges and the drunkenness of fear to the font of refuge. This fine collection warrants a complete reappraisal of the records these tracks came from, as well as Shot of Love and Infidels. Perhaps it also warrants a compilation of Dylan's own versions as well -- it would hardly be untimely since he continues to perform many if not all of these songs today. If you buy one gospel record in 2003, let this be it. ~ Thom Jurek/AMG

Mahalia Jackson - The World's Greatest Gospel Singer

OK folks, I gave this album what it rightly deserved... a fresh rip!!!  This time ALL of the tracks are here, namely the missing "Jesus" from the previous rip.  This is undoubtedly one of my best sounding rips, with the least editing.  Just a gorgeous sounding album.  Certainly my favorite of this entire series... enjoy!!

  KC's post had me recalling this classic which we posted at the Crypt.  Prepare to be moved.  Her voice just soars from the speakers and straight into your soul.  Mahalia needs little introduction, yet her name never seems to come up as much as it should. Underrated?  Hardly.  I think her tight ties to gospel shut her out of the minds of many listeners. Well, I am here to tell you..."Church is in!".  This album swings hard at times, and Miss Jackson's voice is hauntingly real.  Her voice has instant impact.  Not only ultra soulful, but with a truthfullness that can't be denied. This was ripped at 24/44.1 wav and dithered to 16/44 FLAC... enjoy!!


 One of Mahalia's early Columbia albums, this brings the singer together with the Fall-Jones Ensemble. Kicking off with the autobiographical "I'm Going to Live the Life I Sing About in My Song," the set also includes stirring renditions of "Jesus Met the Woman at the Well," "I Will Move on up a Little Higher," "Didn't It Rain," "Keep Your Hand on the Plow," "Walk Over God's Heaven," and even a spirited take on the old warhorse "When the Saints Go Marching In".  - Cub Koda

Columbia CL644
1955
Recorded Nov. 1954

Mahalia Jackson, vocals

The Falls-Jones Ensemble:

Mildred Falls, piano
Ralph Jones, organ
Art Ryerson/Billy Mure, guitar
Frank Caroll/Jack Lesberg, bass
Norris "Bunny" Shawker, drums

01 I'm going to live the life I sing about in my song
02 When I wake up in glory
03 Jesus met the woman at the well
04 Oh Lord, is it?
05 I will move on up a little higher
06 When the saints go marching in
07 Jesus
08 Out of the depths
09 Walk over God's heaven
10 Keep your hand on the plow
11 Didn't it rain

Mahalia Jackson - Let's Pray Together

Brothaz an' Sistaz!!

For our second installment in the Mahalia series, we will be looking at "Let's Pray Together".  The music and arrangements were handled by legend Marty Paich.  Was there any area of music this guy didn't touch??!!??  In any case, I wasn't sure what to expect with his involvement but the result is excellent.  

We must keep in mind that my gospel knowledge is quite limited, but I found that Paich retained that authentic sound on this side.  One thing is for sure, he gave plenty of space for Miss Jackson to do her thing.  As the album plays, the songs get better and better as does her vocal.  My favorite would have to be Guardian Angels.  She is accompanied by Harpo Marx and much like Black Baby on the previous post, the song focuses on her amazing emotive power.

I want to apologize to Uncle Cliff for not producing "The World's Greatest..." this week.  Cliff, you deserve anything you ask for (and as quickly as humanly possible!!).  That said, I didn't want to forsake the quality either.  And with that segway...  this album was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  I cleaned it up as best as I could, but to go any further would have harmed the music - something I am unwilling to do.  So we have a bit of fried chicken in the mix, but frankly with gospel I find it to be a soothing and comforting anomoly.  I hope this pleases all of you gospel characters out there... enjoy!!!

_____________________________________________

Columbia CL2130
1963

Arranged and Conducted by Marty Paich

A1 Altar Of Peace
A2 One God
A3 Let's Pray Together
A4 Without A Song
A5 Take God By The Hand
A6 Guardian Angels
B1 We Shall Overcome
B2 Song For My Brother
B3 Deep River
B4 No Night There
B5 If I Can Help Somebody

Mahalia Jackson - Come On Children, Let's Sing

Bruthaz an' Sistaz!!!  

Sorry I am late to church.  I am planning a hard look at some of Mahalia Jackson's greatest albums from her tenure at Columbia.  Each Sunday for the next several weeks I will post one.  I decided to start with this side because of its great notes on the back cover.  They are included of course in 300 dpi quality.  

There's no doubt that Black Baby is the real epic track from this set.  The album was clearly recorded inside a church so you really feel like you're in a pew during service.  Ripped from vinyl at 24/44.1 wav and dithered to 16/44.1 FLAC.  A bit of fried chicken in the mix but otherwise a wonderful rip, centered around Sister Jackson's tremendous pipes.  Enjoy!!!

Columbia CL 1428
1960

A1 Come On Children Let's Sing 1:55
A2 If We Ever Needed The Lord Before 4:20
A3 Because His Nae Is Jesus 2:50
A4 You Must Be Born Again 2:00
A5 Brown Baby 5:30
B1 The Christian's Testimony 2:32
B2 Keep A-Movin' 3:09
B3 A Christian Duty 3:19
B4 One Step 3:22
B5 God Is So Good 3:15

Quite simply, listening to this record is like going to church. Mahalia's voice, one of the strongest gospel voices to be put on record, is made even more powerful by the Falls-Webb ensemble, who chant, harmonize and rejoice in the background throughout the record. Upbeat numbers such as the title track find the choir in rare form, but the centerpiece of the album is Oscar Brown's "Brown Baby," the languid arrangement allowing Mahalia to pull at the song, stretching its melody for greatest emotional effect. - 4.5 / 5.0 : Steve Kurutz / AMG

Bessie Smith - Chattanooga Gal

I have been reluctant to post the entire 10 disc Columbia set so I was quite pleased to find this 4 disc distillation. This is a far more easily digested sampling.

"Nicknamed The Empress of the Blues, Smith was the most popular female blues singer of the 1920s and 1930s. She is often regarded as one of the greatest singers of her era and, along with Louis Armstrong, a major influence on subsequent jazz vocalists.

The 1900 census indicates that Bessie Smith was born in Chattanooga, Tennessee in July 1892. However, the 1910 census recorded her birthday as April 15, 1894, a date that appears on all subsequent documents and was observed by the entire Smith family. Census data also contributes to controversy about the size of her family. The 1870 and 1880 censuses report three older half-siblings, while later interviews with Smith's family and contemporaries did not include these individuals among her siblings.
Bessie Smith was the daughter of Laura (née Owens) and William Smith. William Smith was a laborer and part-time Baptist preacher (he was listed in the 1870 census as a "minister of the gospel", in Moulton, Lawrence, Alabama.) He died before his daughter could remember him. By the time she was nine, she had lost her mother and a brother as well. Her older sister Viola took charge of caring for her siblings.
To earn money for their impoverished household, Bessie Smith and her brother Andrew began busking on the streets of Chattanooga as a duo: she singing and dancing, he accompanying her on guitar. Their favorite location was in front of the White Elephant Saloon at Thirteenth and Elm streets in the heart of the city's African-American community.

In 1904, her oldest brother, Clarence, covertly left home by joining a small traveling troupe owned by Moses Stokes. "If Bessie had been old enough, she would have gone with him," said Clarence's widow, Maud. "That's why he left without telling her, but Clarence told me she was ready, even then. Of course, she was only a child."
In 1912, Clarence returned to Chattanooga with the Stokes troupe. He arranged for its managers, Lonnie and Cora Fisher, to give Smith an audition. She was hired as a dancer rather than a singer, because the company also included the unknown singer, Ma Rainey. Smith eventually moved on to performing in various chorus lines, making the "81" Theater in Atlanta her home base. There were times when she worked in shows on the black-owned T.O.B.A Theater Owners Booking Association circuit. She would rise to become its biggest star after signing with Columbia Records.

By 1923, when she began her recording career, Smith had taken up residence in Philadelphia. There she met and fell in love with Jack Gee, a security guard whom she married on June 7, 1923, just as her first record was released. During the marriage—a stormy one, with infidelity on both sides—Smith became the highest paid black entertainer of the day, heading her own shows, which sometimes featured as many as 40 troupers, and touring in her own railroad car. Gee was impressed by the money, but never adjusted to show business life, or to Smith's bisexuality. In 1929, when she learned of his affair with another singer, Gertrude Saunders, Bessie Smith ended the relationship, although neither of them sought a divorce.
Smith eventually found a common-law husband in an old friend, Richard Morgan, who was Lionel Hampton's uncle and the antithesis of her husband. She stayed with him until her death.
Smith's career was cut short by a combination of the Great Depression,which nearly put the recording industry out of business, and the advent of "talkies", which spelled the end for vaudeville. She never stopped performing, however. While the days of elaborate vaudeville shows were over, Smith continued touring and occasionally singing in clubs. In 1929, she appeared in a Broadway flop called Pansy, a musical in which top critics said she was the only asset. In 1929, Smith made her only film appearance, starring in a two-reeler titled St. Louis Blues, based on W. C. Handy's song of the same name. In the film, directed by Dudley Murphy and shot in Astoria, she sings the title song accompanied by members of Fletcher Henderson's orchestra, the Hall Johnson Choir, pianist James P. Johnson and a string section—a musical environment radically different from any found on her recordings.
In 1933, John Hammond, who also mentored Billie Holiday, asked Smith to record four sides for Okeh (which had been acquired by Columbia Records in 1925). He claimed to have found her in semi-obscurity, working as a hostess in a speakeasy on Philadelphia's Ridge Avenue. Bessie Smith worked at Art's Cafe on Ridge Avenue, but not as a hostess and not until the summer of 1936. In 1933, when she made the Okeh sides, Bessie was still touring. Hammond was known for his selective memory and gratuitous embellishments...

...On September 26, 1937, Smith was critically injured in a car accident while traveling along U.S. Route 61 between Memphis, Tennessee, and Clarksdale, Mississippi. Her lover, Richard Morgan, was driving and, probably mesmerized by the long stretch of straight road, misjudged the speed of a slow-moving truck ahead of him. Tire marks at the scene suggested that Morgan tried to avoid the truck by driving around its left side, but he hit the rear of the truck side-on at high speed. The tailgate of the truck sheared off the wooden roof of Smith's old Packard. Smith, who was in the passenger seat, probably with her right arm or elbow out the window, took the full brunt of the impact. Morgan escaped without injuries.
The first people on the scene were a Memphis surgeon, Dr. Hugh Smith (no relation), and his fishing partner Henry Broughton. In the early 1970s, Dr. Smith gave a detailed account of his experience to Bessie's biographer Chris Albertson. This is the most reliable eyewitness testimony about the events surrounding Bessie Smith's death.

After stopping at the accident scene, Dr. Smith examined Bessie Smith, who was lying in the middle of the road with obviously severe injuries. He estimated she had lost about a half-pint of blood, and immediately noted a major traumatic injury to her right arm; it had been almost completely severed at the elbow. But Dr. Smith was emphatic that this arm injury alone did not cause her death. Although the light was poor, he observed only minor head injuries. He attributed her death to extensive and severe crush injuries to the entire right side of her body, consistent with a "sideswipe" collision. Broughton and Dr. Smith moved the singer to the shoulder of the road. Dr. Smith dressed her arm injury with a clean handkerchief and asked Broughton to go to a house about 500 feet off the road to call an ambulance.
By the time Broughton returned approximately 25 minutes later, Bessie Smith was in shock. Time passed with no sign of the ambulance, so Dr. Smith suggested that they take her into Clarksdale in his car. He and Broughton had almost finished clearing the back seat when they heard the sound of a car approaching at high speed. Dr. Smith flashed his lights in warning, but the oncoming car failed to stop and plowed into the doctor's car at full speed. It sent his car careening into Bessie Smith's overturned Packard, completely wrecking it. The oncoming car ricocheted off Dr. Smith's car into the ditch on the right, barely missing Broughton and Bessie Smith.

The young couple in the new car did not have life-threatening injuries. Two ambulances arrived on the scene from Clarksdale; one from the black hospital, summoned by Mr. Broughton, the other from the white hospital, acting on a report from the truck driver, who had not seen the accident victims.

Bessie Smith was taken to Clarksdale's G.T. Thomas Afro-American Hospital, where her right arm was amputated. She died that morning without regaining consciousness. After Smith's death, an often repeated but now discredited story emerged about the circumstances; namely, that she had died as a result of having been refused admission to a "whites only" hospital in Clarksdale. Jazz writer/producer John Hammond gave this account in an article in the November 1937 issue of Down Beat magazine. The circumstances of Smith's death and the rumor promoted by Hammond formed the basis for Edward Albee's 1959 one-act play The Death of Bessie Smith."
Wikipedia

Bill Doggett - Fingertips

Well, this album will conculde my Doggett contribution.  Here we have yet another Columbia side from the early sixties.  Much like Oops, I have no  clue as to whom the players are on this album.  It's a shame because there's some killer support mostly heard between sax and guitar.

Doggett really takes a varied approach in terms of material for this one.  I would say that overall there's a real sense of funk and groove.  The one thing which really comes to mind while listening to this album, is just how great Doggett is at filtering any song through his style.

The Worm and Monkey are my two favorites - I just love Doggett accompanied with a sax.  I ripped this at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

Columbia ‎– CS 8882

1963

1. Fingertips
2. Soul Zone
3. Without Love
4. The Love Of My Man
5. Memphis
6. The Worm
7. One Fine Day
8. Monkey
9. Soul City
10. If You Need Me
11. D'lo
12. Hot Fudge

Bill Doggett - Oops!

There's no doubt that Doggett's output on King Records is the most revered of his career.  Truthfully, with so many sides on the legendary imprint, they are not all great.  Doggett cut a few albums for Columbia in the early 60's, including the subject of this post.

My assumption of what I would hear wasn't too good.  I figured it would be watered down Hammond with strings or choral vocals.

Poppachubby... you damn fool!!

This album smokes!!  Overall, it's leanings are more on the jazz side of things, but with an upbeat feel.  There are some decidedly R&B numbers, my fave being Lady's Choice.  There's a real joyous and fun vibe infused into these tracks.  The title track itself is a total knockout.  Yes, I would have no issue handing this album to somebody as their first listen to Doggett.

However with all this greatness, there is a problem.  Oh don't worry it's minor.  I have no idea who is playing on this damn album!!  The liner notes reveal that Floyd Smith is the guitarist, but nothing else.  To my ear there is tenor and baritone sax, probably the same player.  A couple tracks have a proper bass player, and of course there is a drummer.  If anybody can shed some light, I would be grateful!

This was ripped from my minty LP at 24/44.1 wav and dithered to 16/44.1 FLAC.  A real cooker... enjoy!!

Columbia CL1814
1962

Mahalia Jackson - Silent Night

I thought it would be better to put some Christmas music up early enough for it to be a part of your holiday. This first one is a poppachubby request.

One of these days someone will finally compile all the Christmas related music Mahalia did in the 50's onto one magnificent disc at least twice as long as this one but it hasn't happened yet so here are the 10 tracks on my disc.

While these recordings certainly capture Mother Mahalia in fine voice, they are somewhat marred by the addition of a white orchestra and chorus. I really wish they had at least used a black choir for crying out loud! The recordings were done during the period that white folks had "discovered" and crowned Mahalia the Queen of Gospel (a title which caused her much embarrassment in the Gospel world) and so they assumed that the same sterile packaging used on Bing Crosby would "improve" Mother's appeal (wretch!). Thankfully the majesty of her voice is able to triumph over the dreck foisted upon her.

The Staple Singers - Freedom Highway

As promised, here is another classic Staples side to help prepare your soul for eternity.  Personally, I find this album comparable in every way to the last post of Circle. 

At several points the group find that incredible vibe which puts the listener into another head space.  Pops guitar is wildly unique in its simplicity and eerieness.

I hope you guys will follow along and grab these Staple albums if you don't have them.  Once I have you properly schooled in their roots, we'll dabble in their secular material.  I will predict that some of you won't even want to bother with it.  While its soulful in its own right, it doesn't even approach their gospel.

Originally released on Epic in 1965 as a live in-church session, Legacy's 1991 reissue of Freedom Highway includes two of the original LP tracks supplemented by some truly spirited late-'60s Epic recordings. Despite the glaring omissions, Freedom Highway never feels like a hastily thrown-together compilation. Instead, it follows an arc that deftly mirrors the religious, political, and social fervor of the '60s as filtered through the warm vibrato of Pops Staples' amplifier and the golden throats of his brood. Gospel standards like "Will the Circle Be Unbroken" and "Wade in the Water" benefit from the full band arrangements, giving them a swift kick of rock & roll that would eventually morph into the soul-funk sound of their popular '70s period. Pops, inspired by his meeting with Martin Luther King, Jr., contributes the wickedly infectious title cut -- one of the two live tracks from the original -- and the incendiary "Why Am I Treated So Bad," a bluesy lament inspired by the hardships of the "Little Rock 9." As always, the vocals and harmonies are nothing short of astounding, most notably on the Mavis Staples-led "Move Along Train" -- never has gospel sounded so sexy. Each song bristles with emotion and resonates deeper with every repeated listen, resulting in an experience that transcends scripture while remaining true to its alternately redemptive and fiery foundations. Freedom Highway captures a family approaching the cusp of catharsis, and its charms lie in the world-weary delivery of its message. Their devotion has been tested and their hands have been bloodied, but their faith has grown into an endless garden because of it, and by the time they reach the spookiest version of "This Train" ever put to tape, listeners will no doubt feel as empowered as the stoic passengers themselves.  - James Christopher Monger/AMG

Columbia 6033
1965