Oz: The Great and Powerful

Oz: The Great and Powerful (2013)

Walt Disney Pictures

Director: Sam Raimi

Main Cast: James Franco, Mila Kunis, Rachel Weisz, Michelle Williams, Zach Braff

L. Frank Baum’s Wizard of Oz series is often credited as being one of the most important fictional universes to emerge from America, or at least the first important one to break from European traditions of “fairy tales”.  There were many, many books written about Oz, various theatrical productions, and many movies too.  The success of the original printing of the book had as much to do with the format as the actual content.  It was a full color book with text set in a stylized arrangement that interspersed it with illustrations by W.W. Denslow.  Children’s books were not customarily printed so lavishly at the time, but the success of the first Oz book The Wonderful Wizard of Oz (1900) turned it into more or less an industry standard.  Critics debated whether Baum’s or Denslow’s contributions were the basis for the book’s success–though most tend to unfairly overlook the publisher George M. Hill Company’s role in arranging the lavish printing.  The credit given to Denslow caused a rift with Baum and the two ceased working together.  Denslow even published separate illustrations related to Oz without Baum’s involvement.  Following the smash success of the first book, Baum teamed up with a theater group and developed a Broadway show that deviated from his writings and played up the latest in theatrical special effects.  He tried later theatrical shows, but without the input of the Broadway team those fizzed.  The earliest movies were silent, and Baum himself made some.  He even developed a touring multi-media show that incorporated some silent films.  Then the 1939 film version starring Judy Garland, though not considered a commercial success at the time, went on to become one of the most iconic and beloved American movies of all time.  Other movies and shows followed, from The Wiz to Return to Oz.  Spinoffs and related books continued to be made.  Baum tried to pursue other work, but the financial rewards of the Oz series always proved too attractive, and he continued to write Oz books even after clear statements that the series was finished.

If you notice a trend in the history of the Oz works it’s that they have been manipulated, contorted and exploited in every possible way, by Baum and others.  There is nothing sacred about the Oz universe.  But an interesting detail is that the biggest successes have be borne out of collaboration, first between Baum, Denslow and the George M. Hill Company, but later with the Broadway show, then with the Victor Fleming, Judy Garland movie with songs by Yip Harburg and Harold Arlen.  So there’s a feeling that the entire enterprise is one that sort of invites reinterpretation and tinkering.

Oz: The Great and Powerful is a big-budget “prequel” by Sam Raimi for the Disney company, which recently gave Lewis Carroll’s Alice’s Adventures in Wonderland similar digital-effects-laden treatment.  While the Alice movie was a disaster, Oz: The Great and Powerful is actually quite good.

My interpretation of the film Continue reading “Oz: The Great and Powerful”

Fred Claus

Fred Claus (2007)

Warner Bros.

Director: David Dobkin

Main Cast: Vince Vaughn, Paul Giamatti, John Michael Higgins, Miranda Richardson, Rachel Weisz, Kevin Spacey, Elizabeth Banks

There is something rather interesting about this film, Fred Claus.  On the surface, it is an attempt to have an “offbeat” christmas movie like Elf, with sort of a bad streak along the lines of Bad Santa and plot elements that recall Office SpaceContinue reading “Fred Claus”

Gospel Music Guide

A guide to gaining an introduction to gospel music (read: afro-american gospel music).  When you get down to it, gospel is the rosetta stone of american music, and there are few styles of american music that haven’t either influenced gospel or taken influence from it.  Hopefully the religious content of the music doesn’t keep people away.  You can be indifferent or even openly hostile to religion and still enjoy this powerful music.

 

Various Artists Collections
Broad overview sets:
Gospel: The Ultimate Collection
Gospel – The Ultimate Collection (2007)

All things considered, this may be the best historical overview of gospel music I’ve seen yet, rivalled or surpassed only by the Jubilation! series mentioned below.  There is definitely a good amount of material from the “golden age of gospel” in the 1950s here, which is something lots of other gospel box sets inexplicably omit.  At four discs, there is a ton of great stuff from a lot of different periods and styles.  This set does stop in the middle of the 1950s though, so you don’t get much if anything anything from the 1960s onward.  But you might want to decide if you like gospel enough first before delving into the 1960s and 70s stuff.  And for an introduction it’s probably best to avoid contemporary gospel anyway.

Jubilation! Volume One: Black Gospel
Jubilation! Great Gospel Performances – Volume 1: Black Gospel (1992)

Jubilation! Volumes 1 & 2 make up probably the best two-disc introduction to gospel available, and together are probably my number one recommendation for someone just beginning to listen to gospel.  Vols. 1 & 2 represent just about all of the major gospel talents, and the song selection is outstanding.  Truly a superb set.  The only caveat I would add is that the focus here is more on modern gospel, and little space is reserved for early 20th Century gospel, but that is actually a good approach for an introductory set like this.

Jubilation! Volume 2: More Black Gospel
Jubilation! Great Gospel Performances – Volume 2: More Black Gospel (1992)

Another great collection of material, similar to Vol. 1.  You will really want to investigate both Vols. 1 & 2, though you could easily start with either one.  There is a Vol. 3, but it focuses on country gospel, which is not the focus of this guide.

The History of Black Gospel Music: Volume 1
The History of Black Gospel Music: Volume 1 (2008)

The first of a seven-album series, apparently available only as a digital download (in the USA at least).  It features some great stuff from a variety of eras.  There is a bit more non-quartet, folk/blues material here than many gospel collections.

Gospel Music
Gospel Music (2006)

A great collection.  All awesome stuff.  Maybe the very best single-disc introduction out there.  The only complaint about this set, and it may be a significant one, is the lack of credits for personnel, recording dates, etc.  So you aren’t told which of the two studio versions of Dorothy Love Coates’ “Strange Man” is included here, for instance.

Nuggets of The Golden Age of Gospel 1945-1958
Nuggets of the Golden Age of Gospel 1945-1958 (2009)

Bob Marovich review: http://www.theblackgospelb…golden-age.html

Fire in My Bones: Raw + Rare + Otherworldly African-American Gospel (1944-2007)
Fire in My Bones: Raw + Rare + Otherworldly African-American Gospel (1944-2007) (2009)

Like Get Right With God (see below), Fire in My Bones focuses on great but lesser-known recordings.  In a way it’s a kind of alternate history of modern age gospel, documenting especially its vital and continuing tradition of do-it-yourself recordings.  This also covers quite a large time frame (more than six decades).  With some of the basics under your belt, this is a fun and exciting extension to delve deeper into the genre.  The obscurity of the recordings means there is little overlap with other gospel compilations.  A follow-up collection was released as This May Be My Last Time Singing: Raw African-American Gospel on 45RPM, 1957-1982, but definitely start with Fire in My Bones.

Goodbye Babylon
Goodbye, Babylon (2003)

This well-regarded, handsomely packaged collection covers an immense amount of gospel up to about WWII, as well as a select few retro-sounding post-WWII cuts.  That said, this set stops short of covering the modernization of gospel during and beyond its so-called “golden age”.  So despite its massive size, this is just the tip of the iceberg, covering only the early roots of recorded gospel music.  It covers country gospel in addition to afro-american gospel.  If you look into this, the Jubilation! discs mentioned above make for excellent follow-ups, focusing on more modern gospel.

Testify! The Gospel Box
Testify!: The Gospel Box (1999)

One of the few gospel collections I’ve seen that actually takes a crack at summarizing many different periods, including the difficult task of putting together a disc of contemporary gospel (at least through the 1980s I believe).  I haven’t heard this to judge well myself.  But this set cuts a wide swath through many different decades of gospel music.

The Essential Gospel Sampler
The Essential Gospel Sampler (1994)

Good selection of some of the most popular names in gospel.

Ultimate Gospel Supermix

My own “virtual” compilation.

More period-specific, stylistically-specific, or label-specific sets:
American Primitive Vol. I
American Primitive Vol. 1: Raw Pre-War Gospel (1926-36) (1997)

Awesome selection of early pre-WWII gospel.  Lots of this stuff straddles the line between blues and gospel.  Probably a less intimidating option than the Goodbye Babylon set, which seemed to borrow heavily from these selections because of the substantial overlap.  Pair this set with the Gospel Music one above and you’ll get a fairly good overview of both old and modern gospel.

A Warrior On the Battlefield: A Cappella Trailblazers, 1920's-1940's
A Warrior On the Battlefield: A Cappella Trailblazers, 1920’s-1940’s (1997)

A set that focuses on jubilee gospel groups.

Kings of the Gospel Highway: The Golden Age of Gospel Quartets
Kings of the Gospel Highway: The Golden Age of Gospel Quartets (2000)

A collection of songs from some of the great gospel “quartets” (they often actually had more than four members) from primarily the later part of the 1940s but also some from the 1950s and one Soul Stirrers track from 1939.   This actually picks up where the A Warrior On the Battlefield set leaves off, stylistically and chronologically.  The liner notes are also quite good in explaining various aspects of the music and the personalities behind it.

The Gospel Sound
The Gospel Sound (1994)

1927-66 sampler of material from Columbia Records (or at least acquired by them prior to this release).

Golden Age Gospel Quartets, Vol. 1 (1947-1954)
Golden Age Gospel Quartets, Vol. 1 (1947-1954) (1997)

Specialty was the premier label for hard gospel quartets in the 1950s.  I could quibble about some of the song selections here, but there is no doubt you get some great music and an introduction to most of the key groups on the Specialty label.  Continued with Golden Age Gospel Quartets, Vol. 2 (1954-1963).

Get Right With God: Hot Gospel
Get Right With God: Hot Gospel (1988)

Awesome collection of mostly obscure stuff from the golden age.  It’s all high-energy and really fun.  The way this is assembled definitely reminds me of Harry Smith (who created the Anthology of American Folk Music), and what a collection of gospel from this period would probably sound like if he ever got around to putting one together.

Golden Age of Gospel
Golden Age of Gospel (2001)

The premier gospel label of the 1950s was Specialty.  But Vee-Jay took over that role around 1959 and held the crown until the label went bankrupt in 1966, when HOB and then Savoy took over that role.  Of course there were other notable labels like Nashboro and Peacock operating throughout these periods too.  But for late 50s/early 60s stuff, you can’t go wrong with Vee-Jay.  The label represented another step in the ongoing pattern of changes in gospel styles.  The “hard” gospel of Specialty was giving way to smoother, more intricate arrangements with more pronounced instrumental accompaniment.

I mention this particular compilation because it is only one disc, but it may be somewhat hard to find and it seems at least some tracks included here are live ones instead of the original studio recordings.  A more extensive collection of Vee-Jay gospel is the four disc series that begins with The Best of Vee-Jay Gospel, Volume One.

Voices of the Civil Rights Movement: Black American Freedom Songs 1960-1966
Voices of the Civil Rights Movement: Black American Freedom Songs 1960-1966 (1997)

Gospel music played a big role in the 1950s/60s civil rights or freedom movement in the United States.  Here’s an interesting look at that role.

The Best of Nashboro Gospel
Best of Nashboro Gospel (1995)

Nashboro, and associated labels like Creed, put out a lot of good gospel over a relatively long period of time.  It was fairly common for big names in gospel to switch record labels through the years.  The demise of Vee-Jay records in 1966 sent many top stars to labels like Nashboro and HOB.

This Is Gospel Vol. 28: HOB Legends
This is Gospel Vol. 28: HOB Legends (2006)
Gospel's Finest
Gospel’s Finest (1992)

If you ask me, most contemporary gospel from the 1980s onward is not worthwhile.  But don’t let my views cloud your judgment.  Here’s a set of 1980s gospel.  Decide for yourself.  If you want more recent gospel, you can look into the “WOW Gospel” series that begins with Wow Gospel 1998 (though you want the “Gospel” series not “Hits”, “Worship”, etc.).

Individual Artist Selections
People totally unfamiliar with gospel music may want to listen to a various artists collection first, but here are some single-artist selections that I find to be particularly worth checking out:
The Golden Gate Quartet Collection

The Golden Gate Quartet

The Golden Gate Quartet Collection (2005)

The Golden Gate Quartet represents a different era than lots of other music on this list.  They had (dixieland) jazz-inflected rhythms that stretched gospel beyond earlier forms, but compared to more modern acts the tempos were slower and there were not really any lead solos.  They put more emphasis on rhythm and almost percussive vocals than many other groups that emphasized close harmonies instead.  There are certainly plenty of different Golden Gate Quartet compilations available.  This two-disc one seems to capture a lot of their best recordings, though in some ways it’s still incomplete.

He's My Rock: Their Early Sides

The Soul Stirrers

He’s My Rock: Their Early Sides (2003)

The early Soul Stirrers with R.H. Harris were the single most influential gospel group.  Ever.  More than any other group, they blazed a trail away from the jubilee style that had dominated gospel for many decades–a style epitomized by The Golden Gate Quartet–and toward hard gospel of the 1950s.  R.H. Harris made lead soloists the stars of gospel “quartets”, which had been expanded past just four members.  This collection features a tremendous amount of really great music.

Journey to the Sky: The Legendary Recordings 1946-1950

The Dixie Hummingbirds

Journey to the Sky: The Legendary Recordings 1946-1950 (2001)

The best gospel of the 1940s is right here.  Lead singer Ira Tucker was just unbelievably good.  He was sort of gospel’s first “rock star” in my book.  Maybe he was just the first rock star period, running down the aisles, jumping off stages…

Love Lifted Me/My Rock

Swan Silvertones

Love Lifted Me / My Rock (1991)

Though maybe I have a sentimental attachment, I would say The Swan Silvertones were the single greatest gospel group ever.  They had it all.  This set of hard gospel from the 1950s is absolutely essential.

Oh Lord, STand By Me / MArching Up to Zion

The Blind Boys of Alabama

Oh Lord, Stand By Me / Marching Up to Zion (1991)

Another great set of hard gospel from the 1950s.

Gospels, Spirituals & Hymns

Mahalia Jackson

Gospels, Spirituals & Hymns (1991)

Probably the single most famous gospel singer ever.  A voice so powerful few could ever come close.  This collection makes a good introduction even though it does not cover recordings from the early part of her career (for that, look to How I Got Over: The Apollo Sessions 1946-1954).

Books
The Gospel Sound: Good News and Bad Times by Anthony Heilbut
How Sweet the Sound: The Golden Age of Gospel by Horace C. Boyer
Encyclopedia of American Gospel Music by W.K. McNeil (ed.)
Blues and Gospel Records: 1890-1943 by Robert M.W. Dixon, John Godrich, and Howard W. Rye
Gospel Records: 1943-1969 by Cedric W. Hayes and Robert Laughton
Web Links
Just Moving On Blog
The Black Gospel Blog
Holy Ghost Blog
Sinner’s Crossroads Radio Show
Black Gospel Collector’s Forum

The Rolling Stones – The Rolling Stones

The Rolling Stones

The Rolling StonesThe Rolling Stones Decca LK 4605 (1964)


The eponymous debut album by The Rolling Stones (renamed England’s Newest Hit Makers for subsequent U.S. release) is a somewhat inauspicious affair.  It is full of energetic takes on American blues.  The group plays with enthusiasm.  Yet aside from a few hints at guitar prowess, there aren’t a whole lot of highlights here.  Still, there aren’t any great missteps, and the effort to reach out across racial lines is admirable.  This was about taking essentially rural music and making it more urban and palatable for middle class youth desperate for a new music to call their own.  Perhaps that wasn’t the precise intent, but it was the ultimate effect.  They got better quickly.  What is stunning is how there are scarcely any cues here to indicate just how good they would get — or how fast they would get there.

Veblen’s Precedent for Cloward/Piven Strategies

Frances Fox Piven and Richard Cloward’s Poor People’s Movements: Why They Succeed, How They Fail (1977) was a watershed.  Mark and Paul Engler recently wrote a an excellent summary “Can Frances Fox Piven’s Theory of Disruptive Power Create the Next Occupy?” (another decent introduction to her work is Who’s Afraid of Frances Fox Piven?).  The basic premise of the Piven/Cloward theory of action, dubbed the Piven/Cloward Strategy when first suggested in 1966 with regard to welfare enrollment, is that the poor–generally powerless–can exert some power, under certain circumstances, by collectively disrupting the smooth function of social institutions, and can make gains relative to vested interests as institutional actors hasten to restore some form of stability.  The more provocative aspects of the theory and associated strategy are that unions are only effective in early stages, when they are initially formed.  Once established, their own institutional dynamics tend to subvert the disruptive potential that is their primary source of power.  Another aspect that Piven explored in greater detail in later work was that conventional channels of activity (electoral politics) generally co-opt or mute disruptive activities, and have the effect of neutralizing and undermining the demands of poor people’s movements.

But Piven/Cloward’s theories here also had precedent.  The cross-disciplinary work of economist Thorstein Veblen raised similar points that merit further examination.  The early chapters of The Theory of Business Enterprise (1904) discuss how “vested interests” use “sabotage” to withhold efficiency and disrupt the interrelated parts of a complex industrial economy to extract wealth for personal gain and the expense of the wider community’s general well-being:

“business men…have an interest in making …disturbances of the system large and frequent, since it is in the conjunctures of change that their gain emerges.”

The Theory of Business Enterprise (1904)

For a modern example, think how the Enron corporation fabricated blackouts/brownouts to drive up energy prices.  This is Veblen’s notion of “sabotage” at its purest.  But Veblen didn’t view the actions of a company like Enron as the exception, but rather the rule.

“It is a matter of course and of absolute necessity to the conduct of business, that any discretionary businessman must be free to deal or not to deal in any given case; to limit or withhold the equipment under his control, without reservation. Business discretion and business strategy, in fact, has no other means by to work out its aims. So that, in effect, all business sagacity reduces itself in the last analysis to judicious use of sabotage.”

An Inquiry Into the Nature of Peace, and the Terms of Its Perpetuation (1917)

Veblen returned to this theme in his final book, Absentee Ownership and Business Enterprise in Recent Times: The Case of America:

“any person who has the legal right to withhold any part of the necessary industrial apparatus or materials from current use will be in a position to impose terms and exact obedience, on pain of rendering the community’s joint stock of technology inoperative to that extent.

“Ownership of industrial equipment and natural resources confers such a right legally to enforce unemployment, and so to make the community’s workmanship useless to that extent. This is the Natural Right of Investment.

“Plainly, ownership would be nothing better than an idle gesture without this legal right of sabotage. Without the power of discretionary idleness, without the right to keep the work out of the hands of the workmen and the product out of the market, investment and business enterprise would cease. This is the larger meaning of the Security of Property.”

Absentee Ownership and Business Enterprise in Recent Times: The Case of America (1923)

The use of sabotage was not limited to the captains of industry.  In the first chapter of The Engineers and the Price System, “On the Nature and Uses of Sabotage,” though, Veblen makes an interesting point:

Any strike is of the nature of sabotage, of course. Indeed, a strike is a typical species of sabotage. That strikes have not been spoken of as sabotage is due to the accidental fact that strikes were in use before this word came into use. So also, of course, a lockout is another typical species of sabotage. That the lockout is employed by the employers against the employees does not change the fact that it is a means of defending a vested right by delay, withdrawal, defeat, and obstruction of the work to be done. Lockouts have not usually been spoken of as sabotage, for the same reason that holds true in the case of strikes. All the while it has been recognized that strikes and lockouts are of identically the same character.

“All this does not imply that there is anything discreditable or immoral about this habitual use of strikes and lockouts. They are part of the ordinary conduct of industry under the existing system, and necessarily so. So long as the system remains unchanged these measures are a necessary and legitimate part of it.

***

“And yet, that extent and degree of paralysis from which the civilized world’s industry is suffering just now, due to legitimate businesslike sabotage, goes to argue that the date may not be far distant when the interlocking processes of the industrial system shall have become so closely interdependent and so delicately balanced that even the ordinary modicum of sabotage involved in the conduct of business as usual will bring the whole to a fatal collapse. The derangement and privation brought on by any well organized strike of the larger sort argues to the same effect.”

The Engineers and the Price System (1921)

He talks about militant worker activism (like Coxey’s Army) as being no better or worse than lockouts by employers.  But Veblen clearly sees the context as being different.  He equates the two in order to argue for a leveling and equalizing effect.  Establishing worker rights to strike on par with the rights of business to engage in a capital strike has the effect of promoting fairness.  Indeed, in The Theory of Business Enterprise he notes that strikers “seek their ends by extra-legal means of coercion” because the court system is set up on terms favorable to businessmen, not to workers, and exigencies thus force extra-legal action like strikes.  Alan Nasser wrote a rather excellent article discussing this topic, “Political Power Made Invisible
Who Strikes, and Against Whom?,” and elaborated in a contemporary setting how Veblen’s insights are fundamentally correct, yet also how economists and the media tend to selectively ignore capital strikes and business cycle fluctuations in this context.

Cloward and Piven aren’t linked to Veblen too frequently.  More common would be a link from Cloward/Piven to Karl Polanyi, who worked independently in a manner somewhat redundant with Veblen, but who wrote in a more “acceptable” and standardized academic format.  The extension of Veblen that Cloward and Piven offered was to extend the theory beyond the purely economic sphere.  They emphasized how government bureaucrats and (especially) politicians sought stability and, above all, predictability.  These things are undermined by disruptive action.  Attempts to restore stability offer opportunities for concessions and advancement of the interests of the poor that would not be granted otherwise.  Like Veblen said about the courts being set up on terms favorable to business rather than workers, the electoral system is not set up on terms favorable to the poor.  And so, Cloward and Piven made the keen observation that the poor have only certain options to exercise any power to advance their interests to achieve greater fairness.

The recently deceased historian Gabriel Kolko wrote a book, The Triumph of Conservatism: A Reinterpretation of American History 1900-1916 (1963), that also took a similar approach in taking a fresh look at the so-called “progressive era” to find that business interests aligned with government (as part of a “regulatory capture” dynamic) to suppress disruption to better protect their vested interests.  Kolko’s book was well researched and fit quite squarely in line with Veblen’s original theories.

A somewhat similar political debate between Stephen D’Arcy and Vijay Prashad was also published recently, “Are Riots Good for Democracy?” D’Arcy emerges with the better argument, because Prashad seems to “throw the baby out with the bathwater” in being cowed by certain atrocities of riots while neglecting atrocities that riots often are meant to redress.  As D’Arcy notes, not all riots are created equal, and they aren’t always a force for good.  Prashad is certainly correct that riots, and disruption more generally, can be used as a pretext for a subsequent authoritarian crackdown (to wit: German film director Rainer Werner Fassbinder made Die dritte generation [The Third Generation] to emphasize the idea that the Baader-Meinhoff Red Army Faction’s militant “urban guerrilla” actions were used to justify a regressive crackdown; or read a history of the Haymarket Riot and its aftermath, like James R. Green’s Death in the Haymarket (2006)).

Ultimate Gospel Supermix (Part I)

American Primitive Vol. I

Here is my take on a “virtual” single disc gospel overview compilation.  Neophytes, I dare you to listen to this and not become a fan.  I’ve tried to link up more readily available CD collections rather than hard-to-find LPs.  Will be continued with my Gospel Mix, Part II, Gospel Mix, Part III, Gospel Mix, Part IV and Gospel Mix, Part V lists.  In the interest of full disclosure, I am an atheist.

 

1 The Stuff That Dreams Are Made of
Rev. B.L. Wightman with Lottie Kimbrough & Congregation – “Live the Life”

The Stuff That Dreams Are Made Of: Super Rarities & Unissued Gems of the 1920s and 30s (2006)

2 Anthology of American Folk Music
Rev. Sister Mary Nelson – “Judgment”

Anthology of American Folk Music (1997)

3 The Complete Blind Willie Johnson
Blind Willie Johnson – “John the Revelator

The Complete Blind Willie Johnson (1993)

4 American Primitive Vol. I
Blind Roosevelt Graves & Brother – “Woke Up This Morning (With My Mind on Jesus)

American Primitive Vol. 1: Raw Pre-War Gospel (1926-36) (1997)

5 The Golden Gate Quartet Collection
Golden Gate Quartet“Bedside of a Neighbor”

The Golden Gate Quartet Collection (2005)

6 The Harmonizing Four 1943-1954
Richmond’s Harmonizing Four – “Everytime I Feel the Spirit”

The Harmonizing Four 1943-1954 (2006)

7 Milky White Way: The Legendary Recordings 1947-1952
The TrumpeteersMilky White Way

Milky White Way: The Legendary Recordings 1947-1952 (2002)

8 Journey to the Sky: The Legendary Recordings 1946-1950
Dixie Hummingbirds“Move On Up a Little Higher [alt. take]”

Journey to the Sky: The Legendary Recordings 1946-1950 (2001)

9 I Want to Know
The Silverlight Quartet (with Brother Cecil L. Shaw) – “Jesus Lend Me a Helping Hand in Your Name

I Want to Know (2006)

10 Love Lifted Me/My Rock
The Swan Silvertone Singers – “Trouble In My Way

Love Lifted Me / My Rock (1991)

11 Oh Lord, STand By Me / MArching Up to Zion
The Blind Boys of AlabamaLiving For My Jesus

Oh Lord, Stand By Me / Marching Up to Zion (1991)

12 Sam Cooke With The Soul Stirrers
The Soul Stirrers – “It Won’t Be Very Long

Sam Cooke With The Soul Stirrers (1991)

13
1947-1954
The Five Blind Boys of Mississippi“(I’ll Be) In the Wilderness”

1947-1954 (2007)

14 The Best of the Sensational Nightingales
The Sensational NightingalesA Closer Walk With Thee

The Best of The Sensational Nightingales (1991)

15 When Gospel Was Gospel
The Davis Sisters – “Jesus Steps Right In”

When Gospel Was Gospel (2005)

16 Get on Board
The Original Gospel Harmonettes – “I’ll Be With Thee

Get on Board (1992)

17 Get Right With God: Hot Gospel
Sister O.M. Terrell – “I’m Going to that City”

Get Right With God: Hot Gospel (1988)

18 The Best of the Vee-Jay Years
The Staple SingersI’m Coming Home (Parts 1 & 2)

The Best of the Vee-Jay Years (2007)

19 Gospel Train
Sister Rosetta Tharpe“Cain’t [sic] No Grave Hold My Body Down”

Gospel Train (1956)

20 The Best of The Caravans
The Caravans“Your Friend”

The Best of The Caravans (1998)

21 Give Me My FLowers / Heart Warming Spirituals
The ConsolersWaiting for My Child

Give Me My Flowers / Heart Warming Spirituals (1993)

22 Gospels, Spirituals & Hymns
Mahalia Jackson – “In the Upper Room

Gospels, Spirituals & Hymns (1991)

23 Oh Happy Day: The Best of the Edwin Hawkins Singers
The Edwin Hawkins SingersOh, Happy Day

Oh Happy Day!: The Best of the Edwin Hawkins Singers (2001)

 

24 Speaking in Tongues
The Holmes Brothers“I Shall Not Walk Alone”

Speaking in Tongues (2001)

 

Beck – Stereopathetic Soulmanure

Stereopathetic Soulmanure

Beck Stereopathetic Soulmanure Flipside FLIP60 (1994)


Some bag on Stereopathetic Soulmanure as an inferior Beck release, but I think it’s easily one of his best albums.  It’s a little rough in patches, but the eclectic songwriting is usually good and there is even some fairly good guitar playing.  Beck is all over the place.  From found sounds, to noise rock, to country, to folk, he tries a little of everything.  But he manages to pull it off.  In fact, Mellow Gold was a big step down from the creativity on display here.  Beck hadn’t yet hooked up with hip-hop producers but it’s no real loss with what is found here.  Is this juvenile?  Yes, of course.  But it manages to faithfully capture the sense of looking for something that resonates and finding the process of the search at least as interesting as anything found along the way.  This has the feel of bored Southern California kids making their own entertainment — not unlike what Ariel Pink would do a few years later.

Vijay Iyer Trio – Accelerando

Accelerando

Vijay Iyer TrioAccelerando ACT Music (2012)


A more mature Vijay Iyer offers something the younger Iyer did not.  He melds angular, modernist attacks with smooth, easy sensibilities in a way that avoids both stilted transitions and empty new age chamber jazz posturing–sometimes the nagging limitations of his early work.  Accelerando features all his strengths and none of his weaknesses.  It certainly helps that bassist Stephan Crump provides a very prominent drive to the music.  Covering some pop music (“Human Nature”) also reveals a grounded sense of humor.  Such little touches evidence the magnanimous spirit imbuing the proceedings.  This is music that is as accessible as it is vibrant.  It may well be Iyer’s best offering yet.

The Swan Silvertones (Part I)

Love Lifted Me

A twelve song tribute to one of my favorite musical groups, The Swan Silvertones.  This isn’t a “best-of” list or anything of the sort.  I just feel that this group, which was capable of just about reaching musical perfection from my point of view, is sadly unknown and as a result too many people are missing out.  So, enjoy!  This list will be continued with The Swan Silvertones, Part II, The Swan Silvertones, Part III, The Swan Silvertones, Part IV and The Swan Silvertones, Part V.  Maybe I should also mention that I have zero interest in the religious content of this music.

Trouble in My Way / I'm Coming Home

1. “Trouble In My Way

As The Swan Silverton Singers; single (1953); available on Love Lifted Me/My Rock (1991)

It may have a sentimental attachment, being the first Swan Silvertones song I ever heard, but this version of “Trouble In My Way” is what I consider the definitive Swan Silvertones recording.  It is hard gospel, with a syncopated rhythm, tight backing harmonies and soaring lead vocals on the top.  The two leads trade back and forth, and play off each other by contrasting coarser shouted vocals and smoother ones that effortlessly leap into falsetto range.  I sometimes listen to just this song over and over and over again.If music has gotten better than this, I haven’t heard it.

How I Got Over / Jesus Is a Friend

2. “How I Got Over

As The Swan Silvertone Singers; single (195?); available on Love Lifted Me/My Rock (1991)

A great song that provides lots of space for impressive melisma early on, and a pronounced call & response passage later on too.

Love Lifted Me

3. “Glory to His Name”

As The Swan Silvertone Singers; single (195?); available on Love Lifted Me/My Rock (1991)

Claude Jeter is without a doubt my favorite singer.  There are few songs that highlight his vocals better than “Glory to His Name”.  The first ten seconds alone should be enough to convince a few other people to become fans too.

Pray for Me

4. “The Blood of Jesus”

From Pray for Me (1975)

A track that relies more heavily on guitar accompaniment than usual.  The laid-back mood here always reminds me of “(Sittin’ on) The Dock of the Bay“.  I love Louis Johnson’s cracking vocals early on.

Singin' in My Soul

5. “Swing Low

Single (1960), and on Singin’ in My Soul (1960); available on Singin in My Soul/Blessed Assurance (2002)

The opener from the group’s best album is a fantastic slow-moving number that draws you in to the pristine vocal harmonies.  Then the subversive guitar accompaniment, from Linwood Hargrove I’m assuming, keeps you in it all the way.  Here’s a track that shows how The Swan Silvertones could just do it better than anybody else.

The Swan Silvertones

6. “Mary Don’t You Weep

Single (1958), and on The Swan Silvertones (1959); available on The Swan Silvertones/Saviour Pass Me Not (2001)

The improvised lyric “I’ll be your bridge over deep water if you trust in my name” from this song inspired Paul Simon to write “Bridge Over Troubled Water“, which is a bit of trivia that has probably brought quite a number of new fans to The Swan Silvertones’ music through the years.

The Day Will Surely Come / Jesus Changed This HEart of Mine

7. “Jesus Changed This Heart of Mine

As The Swan Silvertone Singers; single (1952); available on Love Lifted Me/My Rock (1991)

I love the line Claude Jeter sings that goes “I’m gonna eat at the welcome table”.  His phrasing is amazing.  The harmonic resolution at the very end is classic too. When the group went to the Pittsburgh radio station WPGH to record a number of tracks, this one among them, Art Rupe of Specialty Records sent along a letter to chief engineer Ralph Ketterer that said, “This type of performance may be foreign to you, but essentially we want the singers to sing out freely.  PLEASE DO NOT HOLD THEM BACK IN ANY MANNER.  If they want to shout, let them shout.  If they want to cry on the recording, let them cry.”  I hate to think what might have happened without that letter!

Working on a Building / Depending on Jesus

8. “Working On a Building

As Swan’s Silvertone Singers; single (1948); available on 1946-1951 (2005)

The Swan Silvertones’ earliest singles found them merely warming up, in a way.  Supposedly their label didn’t support them in recording hard gospel, pushing instead for a more folk or hillbilly sound.  Their earliest sides tend to fall more or less into the “jubilee” gospel style, and the arrangements are reminiscent of recordings by The Soul Stirrers and The Blind Boys from the same time period.  As the 1950s rolled around, you can hear them pushing the boundaries a bit more, with the lead singers going out further and further from the backing harmonies.

Love Lifted Me

9. “Prayer In My Mouth”

As The Swan Silvertone Singers; single (195?); available on Love Lifted Me/My Rock (1991)

Another classic track recorded in the 1950s.  Solomon Womack (Bobby Womack‘s uncle) takes the first lead.  Womack passed away in the mid 1950s, and the band suspected it was because the demands of touring had taken quite a toll on him.  The bass vocals on the second lead (Henry K. Bossard I think) are a cool change of pace before Rev. Robert Crenshaw launches into his wild shouting in the final lead.  I have seen Henry K. Bossard credited as the songwriter of “Prayer In My Mouth”, but it is essentially the same song as “Guide My Hand” that The Dixie Hummingbirds had recorded a few years earlier.

Let's Go to Church Together

10. “Search Me Lord”

From Let’s Go to Church Together (1964)

Let’s Go to Church Together is perhaps the most subtle Swan Silvertones album.  It might be live judging from the sound, but I can’t confirm that guess.  It’s not the place to start, but it’s great place to end up.

Saviour Pass Me Not

11. “Bye and Bye”

From Saviour Pass Me Not (1962)

The arrangements on The Swan Silvertones’ full-length albums had grown quite complex by the early 1960s.  From their eclectic Saviour Pass Me Not album, “Bye and Bye” is just another great, upbeat song of which The Swans had no shortage.

Blessed Assurance

12. “He Saved My Soul”

From Blessed Assurance (1963)

The Swans could do it all.  This song finds them singing against a pronounced rock ‘n’ roll backbeat.  Not much of a leap between this and soul music.  The group’s sound would increasingly move in this direction, especially after about 1966 or so.

Scott Walker 101

 

This is...Scott WalkerA “virtual” single-CD overview of the music of Scott Walker.  He most definitely has more than one disc of great material, so this necessarily leaves off a lot.  I’ve tried to make sure important aspects of his music are represented somewhere, though not always as fully as each one deserves.

  1. “Prologue” from ‘Til the Band Comes in
  2. “The Old Man’s Back Again (Dedicated to the Neo-Stalinist Regime)” from Scott 4
  3. “Track 3” from Climate of Hunter
  4. The Walker Brothers “People Get Ready” from Portrait
  5. “The Lady Came from Baltimore” from Scott
  6. “Duchess” from Scott 4
  7. “Thanks for Chicago Mr. James” from ‘Til the Band Comes in
  8. “Joanna” (single)
  9. “I’ll Be Home” from Stretch
  10. “The War Is Over (Epilogue)” from ‘Til the Band Comes in
  11. “Montague Terrace (In Blue)” from Scott
  12. “It’s Raining Today” from Scott 3
  13. “Sons of” from Scott 3
  14. “We Came Through” from Scott 3
  15. “The Seventh Seal” from Scott 4
  16. “Hero of the War” from Scott 4
  17. “Rhymes of Goodbye” from Scott 4
  18. “Farmer in the City” from Tilt
  19. “Bouncer See Bouncer…” from Tilt
  20. “Jesse” from The Drift
  21. “Blanket Roll Blues” from Climate of Hunter