Holiday Music | Other Country Styles

Cactus Jim & The Wranglers "Western Christmas" (Diplomat Records, 1960-?) (LP)
A pretty straightforward set of holiday-themed budget-label twang. The tunes are mostly Christmas standards, with a few secular western tunes tossed in as well (doubtless from random sessions left in the vault). The most promising (and original) title here is "Wait For The Wagon (On Christmas Day)." Anyone out there know more about the mysterious Mr. Jim?

The Calvary Mountain Boys "Face The Father" (1981) (LP)
(Produced by Mike Harris & Robert Pineda)
Nice, melodic post-hippie, Southern California country-rock gospel by a group from San Diego that seems to have been in the orbit of Contemporary Christian star Dennis Agajanian. Four guys are pictured in cameo photos on the back: songwriter/guitarist Don Nuzzo, Craig Cripps (banjo and guitar), Don Parker and lead singer Dave Rochester (guitar and harmonica), though there's a slew of other pickers on board, most notably fiddler Chuck Adams and Dennis Agajanian, who flatpicks on a track called "Dixie Breakdown." This has a bigger, fuller production sound on several tracks than the album art might imply -- they do play some straight-up bluegrass, but also have several tracks that seem influenced by the LA Sound, with vocal harmonies and soft-pop twang arrangements that could have come off an album by America, or Poco, someone like that. Other than a couple of traditional tunes, this is all original material, with the songwriting pretty evenly split between Cripps, Nuzzo and Rochester, and Dave Rochester handling most of the lead vocals. Sure, it's kinda wimpy, but it's still better than many Jesus-freak records of similar vintage... Fans of Chris Hillman or Brush Arbor might dig this.

The Calvarymen "...Sing Everybody Will Be Happy" (Calvary Records, 1971) (LP)
(Produced by Jack Black)
Hailing from Modesto, California's Calvary Temple Church, the Calvarymen grew out of a vocal trio that first formed in 1964 and coalesced into a proper band a few years later. The trio was made up of lead singer Jack Black, rhythm guitarist and baritone Jim Richardson, and tenor Ken Severe on bass guitar. Most notably, though, was the additional backing from some real-deal country pickers -- locals, for sure, but real twangsters, including a sleek, accomplished pedal steel player, Jerry Pack, Don Richardson on lead guitar, and a maybe-teenage kid named Brian Richardson on drums. It's the group's instrumental finesse that most interests me, some of that true twang you can hear in some of the San Joaquin Valley's better gospel records from the '60s and '70s, with subtle echoes of Merle Haggard and even deeper hints of the old western swing scene. The vocals themselves are a little on the corny side, not quite 700 Club corny, but more like the Statler Brothers, or someone like that. Overall, this one's worth checking out, a solid example of Central California gospel twang, if a bit on the softer side. Also, their rock flavored arrangement of Dottie Rambo's "Exactly What I Need" is kind of a hoot.

Archie Campbell "Didn't He Shine" (RCA Victor, 1971) (LP)
Comedy craftsman Archie Campbell, who was a staff writer for the Hee Haw TV show, slows things down and puts on his serious face for this straight-ahead gospel set.

Donald Campbell "...Sings Country/Western" (Singcord Records, 19--?) (LP)

Glen Campbell "Oh Happy Day" (Capitol Records, 1970) (LP)

Glen Campbell "I Knew Jesus" (Capitol Records, 1973) (LP)

Glen Campbell "Show Me Your Way" (New Haven Records, 1991)

Glen Campbell "Favorite Hymns" (Word Records, 1992)

Glen Campbell "Wings Of Victory" (New Haven Records, 1992)

Glen Campbell "The Boy In Me" (New Haven Records, 1994)

The Greta Campbell Trio "Sing The Gospel: The Songs Of Lois Irwin" (Vistel Sound Corporation 196--?) (LP)
Not very country, but a solid and not overly-churchy gospel set. This trio included evangelist Greta Campbell, who lived in Mobile, Alabama and worked as a preacher back in the early 1950s as well as a musician. She's joined by keyboardist Patsy Welch on organ and piano, as well as Mrs. Ramona Ready. Additional accompaniment was provided by the Bob Summers Ensemble and Kenny Irwin, Lois Irwin and a fella named Art Guttke, though their exact musical roles are unclear. At any rate, I was drawn to this album not because I thought it would sound twangy (and it didn't) but because of its hyper-specificity: all of the songs were written by Lois Irwin, identified as "one of America's outstanding young songwriters." Overall this feels like a pretty competently conceived and performed set, though the trio vocals tend to slightly overwhelm the musical backing. Not my kind of gospel music, really, but pretty good for what it is. This trio recorded quite a few other albums, most of them released on the Nashville-based Hymntone label.

Kate Campbell - see artist discography

The Whitey Cantrell Singers "Introducing..." (Cantrell Music, 1976-?) (LP)

Canyon Country Choir "Alone" (Century Records, 1978-?) (LP)
(Produced by Ron Chancey)
This one's more of a warning than a review... Yeah, sure, they call themselves "country," but really this is a super-clunky set of Christian sorta-folk, sorta-rock, poorly recorded and clumsily executed, like one of those "talent show" discs the hipsters love to giggle over. "So bad it's good"? Well, that's up to you. But "country"? Nah, not really. I took one for the team, here.

The Capitals "The Capitals" (Rising Star Records, 1977) (LP)
(Produced by Colonel Dave Mathes)
I think these guys were primarily a gospel group, although they covered country hits such as "Daddy Sang Bass" and "This Ole House," with backing by Nashville pros such as Buddy Emmons, Jerry Shook and Russ Hicks in the studio crew. The first track is a patriotic number, Barbara J. Anton's "Hot Dog! I'm American!"

Charley Carnelison & The Apostolic Faith "Bluegrass From The Heart" (Canaan Valley Records, 197--?) (LP)
Bluegrass preacher Charley Carnelison grew up in Hollister, Missouri, and was living in Springfield when he began his recording career. When he was eighteen, he joined Jack Keithley's band, the Ozark Country Boys, before forming a duo with Johnny Holt a few years later. Carnelison and Holt played on the radio locally in the Branson area, and recorded together over the course of several years. Carnelison's signature song is a gospel tune called "20-20 Vision," which bears a striking similarity to a secular heartsong recorded by Gene Autry way back in 1954 (and more famously in a bluegrass arrangement by Jimmy Martin) though he say he copyrighted his own version in 1967, first recording it in 1972. Mr. Carnelison cut several albums and published a collection of bluegrass gospel songs as well as a book of regional Ozark folklore. Eventually he quit performing due to hearing loss, but Carnelison his band 20-20 Vision were still performing locally well into the 21st Century, with a presence on Facebook and podcasting as well. These three albums seem to have dated back to the 1970s, though he also seems to have self-released a number of CDs, which are a lot harder to track down.

Charley Carnelison & The Apostolic Faith "America You're Drifting Away" (Canaan Valley Records, 197--?) (LP)

Charley Carnelison "Presents The Gospel, Bluegrass Country Style" (Pine Tree Records, 1978-?) (LP)
On this album, Carnelison shares the spotlight with his pal Johnny Holt, as well as Ohio gospel singers J.D. Jarvis and Rose Jarvis, who hosted the sessions at a Cincinnati recording studio. They all sing lead on various tracks, with Carnelison in the spotlight for four of his own songs, a reprise of "20-20 Vision," another oldie called "I'm Longing To See That City," and two newer songs, "One Drop" and "Today I Started Serving My Lord Again." The liner notes indicate that this was Carnelison's third album, and I'm assuming the two above on Canaan Valley were the first two. In addition to Holt and the Jarvises, the musicians include banjo players Noah Holland and Carlos Jones; Junior Bennett and Jimmie Dutton on fiddle; Lucky Jarvis playing rhythm guitar and Bill Woolum on dobro and bass -- the overlapping personnel and the liner notes reference to "all four of the songs I recorded on this album" leads me to believe this was actually kind of a semi-compilation rather than strictly a Carnelison LP.

Hisel Carpenter & The Gospel Rhythmaires "He Died For Our Sins" (REM Records, 1964-?) (LP)
(Produced by Bob Mooney)
A fundamentalist gospel trio made up of Hisel Carpenter, his wife Geraldine, and lead guitarist Billy Gabbard... Mr. and Mrs. Carpenter were originally from Jackson County, Kentucky but were part of the great generational migration into the rust belt, and were living in Richmond, Indiana when they started their recording career. Formed in the late 1950s, the group also performed under the name The Carpenters.

Hisel Carpenter & The Gospel Rhythmaires "I Cannot Find The Way Alone" (REM Records, 1965-?) (LP)
(Produced by Bob Mooney)

Vernon Carr "Roots Of My Raisin' " (Glory Barn Sound, 19--?) (LP)
(Produced by Bill Hargraves & John Moseley)
This custom label country-gospel album was recorded at the legendary Cavern Studios in Kansas City... Vernon Carr was an old-school country singer who grew up in Bakersfield, but moved to the Kansas City area later in life and became a prominent country gospel (as opposed to Southern gospel) performer. He also recorded at least one secular hard-country single in his youth ("Country Music Fever"/"Breaking Point") and includes an old Hank Williams tune on this album.

Wayne Carr "Jesus Loves Me" (Vistel Sound, 19--?) (LP)
(Produced by Jerry Wright)
Now, you know I'm not all that big on making fun of "bad" album covers -- I think that's a particularly weak form of humor -- but I will say that in the case of Wayne Carr and this album, well... If "bad album covers" is one of your kicks, you should scour the ends of the Earth to track this one down. Really, it's all about his super-groovy hippie-era patchwork-quilt jacket, which is even funnier considering how clearly Mr. Carr was no hippie, not by a longshot. Hard to tell where he was actually from, though, since the record was recorded in Kansas City, pressed in Georgia, and the liner notes feature a testimonial from a Baptist preacher from a church in Hollywood, Florida that hosted the singer at some point. My best guess is that Wayne Carr was from Missouri, though I couldn't say exactly where. I also wouldn't consider this one all that country, though it's worth noting that it has a fair chunk of original material, whether it's twangy or not. No info on the backing musicians. alas.

Milton Carroll "Life Of Christ" (Blue Stone Records, 1992)
Texas native Milton Carroll started out as sort fo a bluesy-folkie twang auteur, though at some point he turned towards religion, and has composed several Christian music songs, including this born-again concept album, co-written with a guy named Don Potter. Apparently country elders Roy Clark, Barbara Fairchild and Ricky Skaggs were all involved with this record, though I haven't heard it myself, so I don't know how much they contributed... I suppose fans of Southern Gospel and contemporary Christian music might want to check this out.

Martha Carson & James Roberts "I'm Gonna Let It Shine" (BACM, 2005)
Old-time gospel favorites from the fabled Martha Carson and her husband James Roberts... These old recordings haven't see the light of day in a long, long time...

Martha Carson "I'll Shout And Shine" (BACM, 2005)

Martha Carson "Martha Carson Sings" (RCA-Camden, 1965) (LP)

Bill Carter/The Carter Singers - see artist discography

Ernest Carter -- see artist discography

The Carter Family -- see artist discography

Loretta Carter & The Sounds Of Praise "Jesus Watches Over Me" (Gospel Shore Records, 19--?) (LP)
(Produced by Frank Carter, Norman Livingstone & Rusty York)
Twangy stuff from southern gospel singer Loretta Carter who previously appeared as a "guest artist" on some records by her brother-in-law, Ernest Carter (above). Her group, Sounds Of Praise, also featured her husband, Frank Carter, who had been a member of Ernest's band, The Hymn Trio, along with several teenagers, including tenor vocalist Ricky Todd, percussionist Donnie Lewis, Gary Selby on banjo and bass, and perhaps most notably, fifteen-year old steel guitarist Kelly Back, who wrote two songs on the album, including the title track. I'm not sure if this was the first record to feature Kelly Back (probably not) but it is certainly one of his earlier recordings; he went on to be a highly prolific session player in Nashville, famously working as a member of the Gaither gospel group, as well as a mid-1980s stint with the Hinsons. The studio group was rounded out by a few ringers from producer Rusty York's usual crew: Junior Bennett on fiddle, Eddie Drake playing lead guitar, and Dumpy Rice on piano. No date on this disc, but it kind of looks mid-to-late 1970s.

Loretta Carter & The Sounds Of Praise "New Horizons For Loretta Carter" (Pyramid International, 19--?) (LP)
(Produced by Bill Farrar & Gene Miller)
I'm not really sure which of these albums came first (neither has a date) though if I had to guess, this one looks more like an early 'Eighties release. The main band included Ms. Carter and her husband Frank, along with a younger guy, David Carter (on banjo, lead guitar and steel guitar) who I assume was their son... Also included are Lynn Baggett (drums), Anthony Hudgens (piano) and a guy named Keith Whitley singing tenor and playing bass. I strongly doubt this Keith Whitley was the big Nashville country star... but then again, you never know. There are a few Nashville pros filling out the lineup -- Doug Jernigan, Bruce Watkins -- and though this seems to have been recorded in Nashville, the Carters now give their contact address as someplace in Florida... hence the palm trees on the cover? They still had their Appalachian roots intact, however, with songs by Edgar Fultz, Dee Gaskin, Dottie Rambo on here... I suspect Frank and Loretta Carter made a few other albums, but it might take a while to track them down.

Johnny Cash "Hymns By Johnny Cash" (Columbia Records, 1959) (LP)
The first of many, many gospel albums by the Man In Black... The story with this one is that Sun Records owner Sam Phillips wouldn't let the rugged, rough-n-tumble Mr. Cash record any religious material, so Johnny up and split for a more lucrative contract at Columbia, and released this as his very first album. I bet if Phillips knew how good this gospel album was going to turn out, he wouldn't have been so darn stubborn about it. A really nice record -- one of Cash's best and most heartfelt early albums on the Columbia label. Definitely check this out, if you're not overly troubled by the Christian proselytizing.

Johnny Cash "Hymns From The Heart" (Columbia Records, 1962) (LP)

Johnny Cash "The Holy Land" (Columbia Records, 1968)
Johnny and June visit Israel and send back an audio postcard for all the rest of us... The Holy Land, seen through an old-fashioned Christian bedrock perspective.

Johnny Cash "The Gospel Road" (Columbia Records, 1973) (LP)

Johnny Cash "Johnny Cash Sings Precious Memories" (Columbia Records, 1975) (LP)

Johnny Cash "A Believer Sings The Truth" (Columbia Records, 1979) (LP)

Johnny Cash "Mystery Of Life" (Mercury Records, 1991)
A mix of secular and religious material. This album starts off a little shaky, with a couple of over-amped, rock-ish numbers that are just a little too loud and aggressive to match Cash's minimalist style. Things calm down fairly quickly, though, and the rest of the album may grow on you. There are some recycled oldies, like "Hey Porter," "Angel and the Badman" and Dylan's "Wanted Man," as well as some interesting new material, such as the Revelations-obsessed "By The Book," and a new duet with Tom T. Hall. The CD reissue also includes a bonus track of Cash's collaboration with U2 (originally from their Zooropa album)... None of this material is the best stuff Cash has ever done, but -- as ever -- he had that certain magnetism that will draw you in.

Johnny Cash "My Mother's Hymn Book" (American/Lost Highway Records, 2004)
This is a really nice gospel album, with simple acoustic versions of religious songs Cash grew up with, and the material is obviously close to his heart... It's the exact same material as Disc Four of the posthumously-released 5-CD Unearthed collection, just broken off and given its own separate packaging, with the full liner notes reproduced intact from the box's booklet. It's certainly worth purchasing on its own, if you don't want to spring for the full box set -- this is some of the strongest and most moving material on that package, and by itself it's equally if not more powerful. Cash is forthright and sincere, and the music is simple, stark and compelling. Recommended!

Johnny Cash "Ultimate Gospel" (Sony Legacy Records, 2007)
Nobody sings gospel quite like Johnny Cash, as heard in this stunning collection of devotional work that Cash recorded for Columbia/CBS over the years. The album gathers liberally from his many religious records of the late 1960s and early '70s, efforts that had a quixotic air about them, but always exuded born-again intensity that left little room to doubt his (and June's) sincerity and depth of conviction. Many of the songs come to us shorn from their original contexts -- from concept albums about the Holy Land, etc. -- but that doesn't make them any less haunting or piercing. His use of sound samples -- notably from Billy Graham lectures -- is pretty striking as well: take that, college rock hipsters! Johnny Cash did it first! (Only, not ironically...) Anyway, the main thing is, this is real, heartfelt religious music; all the passion and power that he put into his best-known secular work also went into his Christian recordings, and even the agnostic among us may find something here that'll strike a chord. Nice collection.

June Carter Cash "Church In The Wildwood: A Treasury Of Appalachian Gospel" (Dualtone Records, 2007)

Leo Castleberry & The Plainsmen Quartet "Riding The Range For Jesus" (Torche Recording Company, 196-?) (LP)
The grandson of a traveling preacher, Leo A. Castleberry Sr. (1931-2016) earned his musical training along with his brother Dale, as they accompanied their grandfather on numerous evangelical tours of the Arkansas hills. He started his broadcasting career at age fifteen, performing on a gospel program at radio station KTHS, emanating out of his home town of Hot Springs, one of several radio and television stations he worked at over the years. Although Mr. Castleberry specialized in gospel music, he was friends with many secular singers, including notorious ne'er-do-wells such as Johnny Horton and Moon Mullican, as well blue yodeler-turned-Christian politician Jimmie Davis, whose gospel group The Plainsmen back him on this album.

Lee Castro "Guitar Favorites" (El Dunamis Records, 1972-?) (LP)
One of several albums by Lee Castro, an evangelical artist from Wichita Falls, Texas, who was normally a vocalist, though he concentrates on guitar picking for this album.

Peggy Caudill "I Met The Master" (Cabut Records, 1969) (LP)
Fierce, rootsy country gospel by Ms. Peggy Ruth Caudill, who according to the liner notes was born in 1939 in Portsmouth, Ohio. At some point Mrs. Caudill had a religious awakening -- the liner notes to this album say she had "been a Christian" for a year or so before recording this set, although I think that means she had converted to whatever evangelical denomination she had joined later in life. I'm not sure if she was part of the same Pentecostal network as other gospel artists in the area, but she certainly had a strong sense of true twang, as did other Dayton and Cincinnati-area singers who used the Rite Records custom company to release their work. Although she was originally from Ohio, I think Caudill later moved to northeastern Kentucky, though still inside the Cincinnati vortex.

Peggy Caudill "If I Can Make It Through The Valley" (Kingdom Records, 19--?) (LP)
(Produced by John Caudill)
According to the liner notes, this was Mrs. Caudill's third album, with backing by local musicians Herman Bowen (bass), Lloyd Dean (steel guitar), Joan Gearhart (bass) and Chuck Morrison (electric guitar). They sound great. I haven't been able to track down the title of her other album, but I assume it's of an equal musical calibre to these two. Any additional info would be welcome!

The Centennial Four "Favorite Country And Gospel Songs" (Jomar Records, 1984) (LP)
Well, it don't get much more local than this... These fellas named their band "the Centennial Four" in honor of the hundredth anniversary of their home town, Napoleon, North Dakota, a tiny village roughly an hour outside of Bismarck. According to Wikipedia, Napoleon was founded in 1886, though the locals seemed to have thought it was 1884, commissioning this disc in 1984 (even though it looks totally 'Seventies!) At any rate, it's straight-up country, with secular classics on Side One and gospel material on Side Two... The quartet are identified not by instrument, but by profession: there's Randy Hall (a music director), Wayne Lucht (high school principal), Jerome Schwartzenberger (editor-publisher) and Tony Welder (pharmacist) apparently taking their cues from the quartet vocals heard on the Hee Haw TV show (which they reference on the back cover...) They were definitely into harmonizing, as this set is heavy on hits by folks such as The Gatlin Brothers ("All The Gold In California") and the Oak Ridge Boys ("Elvira" and "Fancy Free"). I'm gonna go out on a limb and guess that this was just a one-off outing for these guys...

Bob Chambers & Phil Welch "Mama's Bible" (Vision Records, 19--?) (LP)
A couple of middle-aged guys from Lodi, California who played secular county music in their youth, but later settled down and got religion... They're pretty crude, musically, but man, do I dig their vibe, which is deeply rooted in the 1940s/50s country-bluegrass tradition. The title track was written by Bob Chambers, while another ("Faith In God") was composed by his son Bobby; the album also includes two originals by Modesto's Jerry Short, along with several from the Louvin Brothers canon ("Born Again," "The Family Who Prays," "Just Rehearsing," "Make Him A Soldier") as well as "I Like The Old Time Way," an oldie from Jim & Jesse McReynolds... My kinda gospel! The ensemble included Bob Chambers on rhythm guitar, Bobby Chambers on bass, some excellent steel playing by Barry Thomas, with Phil Welch playing some fine Chet Atkins-inspired lead guitar. Their vocals are pretty rough-hewn, but super-authentic, and the accompaniment is straightforward, back-to-basics twang... Definitely a keeper, though maybe other folks might find it hard to get into.

Bud Chambers - see artist discography

Gay & Lois Cheatham "The Workers Of The Vineyard" (Jalyn Records, 1975-?) (LP)
(Produced by Phil Mehaffey & Tim Norris)
Homegrown hillbilly gospel from Lodi, Ohio, with almost all the songs written by Arna Gay Cheatham, who is joined by her sister Lois, along with Elmer Huff on steel guitar, Phil Mehaffey (piano), Dick Ryan (drums), David Salyer (lead guitar), and Charles Watson playing bass.

The Cheerful Givers "Changin' " (First Methodist Church of Shreveport, 19--?) (LP)
(Produced by David Stone)
A large assembly of teenager performers from Shreveport, Louisiana, The Cheerful Givers was a Christian folk/pop ensemble drawn from the youth group of the town's First Methodist Church. This is the earliest album of theirs I know of, with a repertoire that includes a lot of secular folk hits such as "Blowin' In The Wind," "The Times They Are A-Changin'," and "Can't Help Wondering Where I'm Bound," along with plenty of religious material, much of it written by humble churchfolk such as the Medical Mission Sisters, and even one song, "I've Got A Heartache," that was credited to the group's director/advisor, David Stone. Given all the material from Bob Dylan, Tom Paxton and Peter, Paul & Mary, this was most likely a mid-to-late 'Sixties offering. The group is perhaps most notable, though, for some early 'Seventies albums (below) which appear to have featured future Nashville hitmaker Keith Stegall, who was in high school at the time.

The Cheerful Givers "Let's Get Together!" (Studio Seven, 1971-?) (LP)
(Produced by David Stone)
Keith Stegall is identified as a member of the group and identified as a high school sophomore, placing this album's release date roughly around 1970-71. He was living in the Shreveport area and attending school at Bossier High School, in one of the city's suburbs. Stegall, whose steel guitar playing father was a professional country musician working in Shreveport, was one of the featured instrumentalists in this youth group, playing guitar alongside a large vocal ensemble, and soloing on two numbers, covers of "Four Strong Winds" and "Get Back." I'm not sure how many more of these church records he played on, though he also recorded a solo album, Written Composed Performed, with the participation of some of the Cheerful Givers, notably vocalist Diane Bell, who also sang on the Givers album below.

The Cheerful Givers "In Concert" (Sevens International Records, 1972-?) (LP)
(Produced by David Stone)
Here Keith Stegall again sings and plays guitar, and is now identified as a junior at Bossier High School. In addition, this marks the start of his career as a songwriter, contributing a few tunes to the set, including his own religious numbers, "Where Do You Go" and "The Man." A solo album followed, comprised of all-original gospel material, and on that album the group's church advisor David Stone refers to Keith Stegall as the leader of the Cheerful Givers, as well as founder of a subgroup called the First Methodist Trucking Company. (The Trucking company seems to have been a separate concert group, although as far as I can tell that group didn't make any recordings.) This also includes a cover of the groovy, hippie-era ode to Brotherhood, "One Tin Soldier," which was a hit in 1969-70, and again in 1971 when a version by the band Coven was featured in the Billy Jack soundtrack.

Sue Ellen Chenault "Sue Ellen Chenault" (Tempo Of Kansas City, 1973) (LP)
(Produced by Bob McKenzie)
First singing in public in her early teens, Arkansas native Sue Chenault soon sang professionally with some of the biggest names in southern gospel, starting with a two-year stint with The Downings, quickly followed by four years with the Speer Family. Her second solo album came with their blessing -- Brock Speer wrote the liner notes -- though also around that same time she met and married her husband, a pastor named Amos Dodge, and eventually moved with him to Washington, DC, where they established their own ministry. She later recorded several albums under her married name, Sue Dodge.

Sue Ellen Chenault "Sue Ellen" (Tempo Of Kansas City, 1977) (LP)

The Chestnut Grove Quartet "The Great Beyond" (Pine Mountain Record Company, 1970) (LP)
An absolutely gorgeous set of pure a capella harmony vocals by a group from the tiny towns of Abingdon and Holston, Virginia. Though they had been together for many years and performed on the radio for over a decade, this was apparently the group's first album, with a lineup that included James Nunley (soprano), William Nunley (tenor), Ray Roe (baritone) and Gale Webb (bass). Although there are no pickers on here, this album and those that followed are said to have had a profound effect on a number of musicians in the bluegrass tradition, notably Ralph Stanley and Ricky Skaggs, who took up the banner of this emotive, heartfelt vocal style, which seems to have grown out of the regional shape-note tradition. You can hear why this group was so well received: this is just "one of those records," a captivating musical gem that should enchant any listener with open heart and open mind. A quiet masterpiece.

The Chestnut Grove Quartet "We'll Still Sing On" (Pine Mountain Record Company, 19--?) (LP)
Another fine, exemplary set of sweet gospel harmonies, framing a deep reservoir of religious belief, including many songs that have that fervent yearning for a peaceful land in the sweet by-and-bye. I dunno if all of the Chestnut Grove albums are this good, but these early discs sure are sweet.

The Chestnut Grove Quartet "The Legendary Chestnut Grove Quartet" (County Records, 1994)

Children Of The Son "Livin' The Rest Of My Life For Jesus" (Charter Records, 19--?) (LP)
(Produced by Gene Breeden & Ellis Miller)

Children Of The Son "He Loves Me So" (Charter Records, 19--?) (LP)
(Produced by Blain Allen & Ellis Miller)

Children Of The Son "All Praise And Glory" (19--?) (LP)
(Produced by Elbert Enns)

Chisholm "On A Better Road" (Chisolm Productions, 1985)
(Produced by Gary Scott & Phil York)
A locally-produced gospel set from the Texas quartet Chisholm (Tim Darnell, Skip Headen, Jeff Jordan and Mark D. Smith) who also cut a secular album in Nashville the same year, with clear hopes of Top Forty success. They seem to have been part of Lone Star bandleader Johnnie High's opry-style revue show held each Saturday in Fort Worth... Indeed, High's liner notes inform us that Side One of this album was taped live on stage, while Side Two was recorded in the studio. The backing musicians included steel player Maurice Anderson, Warren Dewey (drums), Ron Diulio (keyboards), Joey Floyd (guitar) and Ron Jones on bass. The fact that they made a gospel album suggests that this vocal quartet had a background in the southern gospel scene, though clearly they nurtured hopes of following folks like The Oak Ridge Boys out of the churches and into the charts. Not sure which of their albums came first, though they both came out in 1985; a third album came out on cassette in 1989, so I guess they stayed together for a while.

The Chisum Family & Devoe Campbell "The Chisum Family And Devoe Campbell" (John's Recording Studio, 19--?) (LP)
This family band was led by patriarch James Lester Chisum (1923-2012) a banjo player and ordained Pentecostal minister from the unincorporated, deeply rural Ozark hamlet of Ben Hur, Arkansas, along with lead guitarist Devoe Campbell, a fellow pastor who lived in nearby Mount Judea. The group included a whole passel of family members, notably Mr. Chisum's song Donnie, who also became a minister. This may have been their first album, though the occasion was tinged with sorrow, as the liner notes inform us that four of the family's teenage boys had died in an auto accident on March 1, 1969, probably not long before this album was pressed. Good stuff here: raw, rural, amateurish in just the right way, unpretentious and very heartfelt, with dips into both bluegrass and country stylings. Fans of Porter Wagoner might really dig these folks.

The Chisum Family & Devoe Campbell "The Sun Will Shine" (John's Recording Studio, 1971-?) (LP)
The lineup on this album includes Jim Atkins on piano, Paul Blalock (bass), Devoe Campbell (lead guitar), Don Chisum (rhythm guitar), Lester Chisum (banjo) and steel guitarist Zane Beck, who played on numerous album by local artists. Although there are no composer credits, this appears to be packed with original material; there's also no date written on the album, but I'm guessing that this came out around 1971 based on the catalog number.

The Chisum Family "The Church In The Country" (Spin-Chek Records, 19--?) (LP)
This disc also includes steel guitar from Zane Beck, along with Terrell Brashear on bass, Devoe Campbell (lead guitar), Donnie Chisum (rhyhm guitar), Lester Chisum (banjo), Gene Gasaway (sp?) on violin, and drummer Gary Nichols, as well as Chisum's daughters, Rosetta and Ruth.

The Christian Minstrels "Jesus Use Me" (Crusade Enterprises, 196--?) (LP)
A backwoods-y gospel quartet featuring bass, guitar and accordion, made up of Jim Fudge, Vangie Pakkala, Mary Raybuck and Darrell Stott, who were apparently from Olympia, Washington. I saw a chewed-up copy of this album at Down Home Music and regret not picking it up. The back cover was blank, so I don't have much information about these folks.

The Christian Troubadours - see artist discography

The Chuck Wagon Gang "Secular And Sacred Songs" (BACM, 2005)

The Churchmen "Let's Go To Church With The Churchmen" (Calvary Records, 19--?) (LP)
(Produced by Stan Anderson)
More Central Valley Californian pentecostal twang, from a Fresno-based group featuring Cletus Clark on guitar, his son David Clark (bass and drums), James Coker (piano), Wayne Stillwell and James Tearce, and steel player Mack Thomas. The band was connected to the Harvey At Millbrook Church Of God, a congregation affiliated with the pentecostal movement started by Richard Green Spurling in Tennessee, which is where the Clark family originally hailed from. (Most of the bandmembers were born in the South, except for Mr. Tearce, who was the lone California native...) This is one of those great old private-press albums that delightfully over-shares about the musicians' lives, and gives us an unusually detailed outline of the band's connection to the wider San Joaquin Valley gospel scene... We learn that Alabama-born Mr. Coker also led his own group, the Jim Coker Trio, which included Cletus Clark's daughters, Jacqueline (Clark) Coker, as well as Cletta (Clark) Stillwell. Cletta and Jacqueline also performed together as the Melodyaires, competing in local gospel pageants in the late 1960s; also worth noting is an album where the Churchmen backed a gal named Elma Thomas, who I assume was Wayne Thomas's daughter. A little too barbershop-y for me, but there is some twang in the mix. Still quite good for the genre.

The Churchmen "I Know He Cares" (Psalms Records, 1970-?) (LP)
(Produced by Stan Anderson)
A decidedly rural album, including versions of country-gospel classics such as "I'll Fly Away," "I Saw The Light," and "Where No One Stands Alone," as well a number of more obscure songs and hymns. Although the vocals are a bit staid, there's also plenty of country musicianship, with steel guitar and Atkins-esque guitar picking. There's no date printed on the jacket, but a handwritten note from the former owners may place this as a 1970 release.

The Churchmen "On The Journey Home" (Pinecastle Records, 2003)
Not to be confused with the Fresno-based country-gospel band of the same name (or any of the other countless bands calling themselves The Churchmen...) this group was from Collinsville, Virginia. A really nice bluegrass gospel album, with the music in the forefront showcasing a swell set of standards and original tunes that aren't too in-your-face about the religious message. Nice melodic approach, and plenty of solid picking.

The Churchmen "Traveling Through" (Pinecastle Records, 2006)

The Churchmen "I'll Be Long Gone" (Pinecastle Records, 2008)

The Clark Family "...Sings Gospel Favorites" (Gold City Records, 1974-?) (LP)

The Clark Family "What Heaven Means To Me" (Mission Records, 19--?) (LP)
A family band from Dexter, Missouri, featuring Kenneth "Dad" Clark, Dean "Mom" Clark, along with their kids David and Vickie, and Howard Murphy on piano. This includes covers of songs by The Hemphills and Rambos, and one original by a friend of the family, Sanford Clark.

The Clark Family Gospel Singers "I Wouldn't Miss It, Would You?" (Ripcord Records, 197--?) (LP)
(Produced by Ellis Miller)
A family band from the Cottage Grove, Oregon singing an interesting selection of gospel tunes, including some definitely country stuff, covers of Kris Kristofferson, The Stanley Brothers(?) and T. Texas Tyler, as well as the Gospel Light Trio and Betty Edwards. Lead vocals are by Mom and Dad -- Jeanette Clark and Junior Clark -- with Mr. Clark playing banjo and guitar, along with Janet Clark on bass and Vermelya Clark on guitar. This was recorded at Ripcord Records' Vancouver, Washington studios; not sure if there are any original songs in the set.

Paul And LaVonne Clark "Sacred Harmonies" (Songs Of Calvary, 19--?) (LP)

Paul, LaVonne & Julie Ann Clark... And Doug Too! "Sacred Harmonies No. II" (Songs Of Calvary, 19--?) (LP)

Paul And LaVonne Clark... And Doug Too! "The Highest Hill" (Songs Of Calvary, 19--?) (LP)
Low-key, no-frills gospel with some definite country touches and a nice, humble vibe. The Clarks were an evangelical duo from Rockford, Illinois, recording here for the Oregon-based Songs Of Calvary custom-press label. Mr. Clark might be the guy playing Chet Atkins-style riffs, while Mrs. Clark is pictured with a giant stand-up bass; they're supported by backing singer Elaine Johnston and steel player Doug Ramsey Jr., who was pretty darn good. Paul Clark is one of those hyper-local artists whose music "weakness" may also be seen as his greatest strength: he's not a very powerful vocalist, but his unassuming presence might be a plus for those of us charmed by little-guy authenticity. There are also some pleasant instrumental tracks, a couple showcasing the steel playing ("Lead Me To Calvary" and What A Friend") and another spotlighting the electric guitar ("More About Jesus"). No date on this album, though it looks mid- to late-1960s, possibly early 'Seventies; the back cover mentions other records by the Clarks, but doesn't provide any titles. It's also worth noting that, while this album gives a home address in Illinois, Paul Clark and LaVonne Clark were originally from Nebraska and South Dakota, respectively, and they traveled widely as evangelical performers, as well as living full-time in Mott, North Dakota and in Freeport, Illinois... After Mr. Clark passed away, LaVonne Barber Clark (1932-2015) moved to Monmouth, Oregon where she remarried and continued to work for the Assemblies Of God.

Paul Clark "Volume One: Songs From The Savior" (Creative Sound, 19--?) (LP)
(Produced by Jim Ford)

Roy Clark "The Magnificent Sanctuary Band" (Dot Records, 1971) (LP)

Roy Clark "Roy Clark Sings Gospel" (Word Records, 1975) (LP)
This appears to be a straight reissue of the Magnificent Sanctuary Band album listed above.

Roy Clark "The Last Word In Jesus Is Us" (MCA Records, 1981) (LP)

Roy Clark "My Favorite Hymns" (Intersound Records, 1995)

Roy Clark "Christmas Memories" (Fine Arts Records, 2000)

Roy Clark "...Sings And Plays Gospel Greats" (Finer Arts Records, 1999)

Roy Clark "Roy Clark Plays And Sings Gospel Greats, v.2" (Wonder Records, 2001)

The Clark Family Gospel Singers "I Wouldn't Miss It, Would You?" (Ripcord Records, 197--?) (LP)
(Produced by Ellis Miller)
A family band from the Cottage Grove, Oregon singing an interesting selection of gospel tunes, including some definitely country stuff, covers of Kris Kristofferson, The Stanley Brothers(?) and T. Texas Tyler, as well as the Gospel Light Trio and Betty Edwards. Lead vocals are by Mom and Dad -- Jeanette Clark and Junior Clark -- with Mr. Clark playing banjo and guitar, along with Janet Clark on bass and Vermelya Clark on guitar. This was recorded at Ripcord Records' Vancouver, Washington studios; not sure if there are any original songs in the set.

Claudette "I'm Depending On You, Lord" (Heartstone Records, 1976) (LP)
(Produced by Renie Peterson, Fred Cameron & Wayne Hilton)
Though mononymic on the front cover, gospel singer Claudette she reveals her full name -- Claudette St. James Dykstra -- on the back. At least... I think that's her full name: she also recorded as Claudette Dykstra Sterk on other albums. Anyway, Mrs. Dykstra hailed from Bellingham, Washington and recorded several records over the years. This one was recorded in Nashville and kicks off on a relatively twangy note before settling into a more sedate southern gospel style. There's a tiny hint of Loretta Lynn in her voice, but it doesn't last for long. The studio band was not all usual-suspect A-listers, though it includes lead-and-steel guitar picker John Rich, who did a lot of session work for various studios. All the songs were written by Irene (Renie) Peterson, also of Bellingham, who in addition to owning Heartstone and several other indie labels was also the president of the Jimmy Murphy Fan Club (which if you ask me, is about as cool as it gets!) Not much here for country fans, though a perfectly respectable gospel album.

Claudette (Dykstra Sterk) "Country Gospel Gold And New" (Heartstone Records, 197--?) (LP)

Vic Clay "...And His Guitar" (Cathedral Recordings, 1962-?) (LP)
Best known as a gospel and country producer working on innumerable albums, Vic Clay started out as a performer himself, singing and playing guitar. This is a gospel set with Mr. Clay, an unidentified organist and bassist Leona Jones backing the gospel songwriting duo of Hazel and Henry Slaughter, although the album was released under Vic Clay's name. According to the liner notes, Clay was born in Lamar, Colorado back in 1937 and devoted himself to "full time Gospel work" after leaving the Army in 1958. When this album was made he was associated with the Akron-based Cathedral Of Tomorrow, a church with its own radio and TV programs, which frequently showcased his guitar work, often as part of the congregation's Weatherford Quartet. And in case you're wondering: yes, this has some really pretty guitar picking, including several instrumentals that were heavily influenced by the Chet Atkins style. Nice stuff!

Vic Clay "Here Today And Gone Tomorrow" (DoViNe Records, 1965) (LP)
Another gospel set, with a mix of styles dipping back into oldies like "Life's Railway To Heaven," and newer material as well. He's backed by locals including longtime collaborator Leona Jones on bass, pianist Danny Koker, drummer Jerry Sanders and a vocal trio comprised of Bobby Clark, Glenn Payne and George Younce.

Vic Clay "Guitar Plain And Fancy" (Hymntone Records, 19--?) (LP)
(Produced by Gene Eichelberger)
This one was recorded at Baldwin Sound studio, in Mechanicsburg, Pennsylvania, with help from the Goss Brothers, James Goss, Lari Goss and Roni Goss, prodigious recording artists who at the time may have been part of Vic Clay's local crusade organization.

Jim Click & Sue Click "My Lord Is A Mountain High" (Rimrock Records, 19--?) (LP)
Classic country/gospel bluegrass... The Reverend Jim Click provided two addresses on this album -- one in Joppa, Maryland and another in Dayton, Ohio, though I think he was an Ohioan, one of the many bedrock gospel artists from the Dayton area. Most of the songs on this album were originals written by Jim Click and his wife Sue, with some traditional tunes and other contemporary originals in the mix. I'm not 100% sure but I believe the Clicks settled down in Galion, Ohio, north of Columbus. It's possible Rev. Click was the same guy who recorded some secular honkytonk country in the early 'Sixties as "Jimmie Click," but then again, Jim Click seems to have been a surprisingly popular name in that neck of the woods.

Carrol Clott & Gene Clott "In The Shadow Of The Cross" (Wildwood Records, 1967-?) (LP)

Carrol Clott & Gene Clott "A Song In My Heart" (Wildwood Records, 1970-?) (LP)

Carrol Clott & Gene Clott "The Clotts Sing" (Wildwood Records, 19--?) (LP)
This one's a little borderline: the opening number, "My Roses," is tremendously appealing, more or less a solo number with Mr. Clott projecting great simplicity and sincerity, an uncomplicated bit of utterly unpretentious and understated country-folk gospel. That unfussy vibe stays true for most of these album, though it must be said that some of Mrs. Clott's showcase numbers are a bit too "churchy" for me, and dip into a style of 700 Club-ish southern gospel I don't much care for... The Clotts seem to have had considerable commercial success, at least in the sense that they'd signed a publishing deal with Johnny Cash's "House Of Cash" company, with half the songs on here credited to the Nashville-based publishing company. All but one of the songs on here are their own original material, with the exception being "Now I Have Everything," which came from Jimmie Davis. The Liner notes are contributed by Dwayne Friend, though he doesn't play on the album. The backing musicians include guitarist Tom Eastman, Arnie Goodell (piano), Bill Kennedy (drums), Lee Knight (steel guitar), Bill Morris Jr. (rhythm guitar), George Palmer (lead guitar), Wally Pfieffer (lead guitar), John Ryholm (bass) and Paul Vasvig also on bass guitar. The set was recorded in Spokane, Washington, though the Clotts also provide their home address in Plummer, Idaho.

Carrol Clott & Gene Clott "We Love Jesus" (Blackwood Records, 1974-?) (LP)
(Produced by Cecil Blackwood, Tommy Fairchild & Tommy Strong)
A later set, for sure, with Mr. Clott's hair grown out a bit and him sporting a groovy wide lapel and a colorful 'Seventies print. The songs are almost all their own originals, with the two exceptions being Dottie Rambo's "Tears Will Never Stain" and a cover of the Marijohn Wilkins classic, "One Day At A Time." The studio crew included guitar picker Duke Dumas, Ronnie Fairchild (bass), Tommy Fairchild (piano), Doug Reno (drums) and Bobbe Seymour on steel guitar, with additional vocal backing from The Carol Lee Singers.

The Clott Family & Dwayne Friend "The Clott Family & Dwayne Friend" (Wildwood Records, 197--?) (LP)

Sue Cox Cole & The Imperials "I've Got A Song" (Heart Warming Records, 1966) (LP)
(Produced by Bob Benson)
Not a lot of information about singer Sue Cox Cole... This appears to have been her only release for Heart Warming Records, though in his liner notes producer Bob Benson mentions that she'd recorded a few independent albums before signing to his label. She's backed here by Jake Hess's group, The Imperials, which was one of the hottest acts in the southern gospel scene at the time.

Sue Cole "Never Been A Man Like Jesus" (Jordan Recordings, 196--?) (LP)

The (Singing) Colemans "We Can Almost See The Shore" (Professional Artist Records, 1974-?) (LP)
(Produced by Dick Grady, Bill Schulenburg & Parvin Tramel)
A family band featuring the Coleman husband-wife combo and, I believe, their two sons, who both look to be in their early twenties. The lineup was Greg Coleman (bass), Mark Coleman (drums) and Norm Coleman (guitar), with Dave Harlson (keyboards) and Jack Ray on steel guitar. Unfortunately, the liner notes neglect to tell us which participants were the parents, and who were the kids... Indeed, Ma Coleman isn't even mentioned by name, even though she's pictured on the front and back and sings on the entire album! The liner notes mention this as being "the best" of their albums, so there may be other recordings to be found... Mrs. Coleman also had a distinctive vocal tone, which adds to their regular-folks vibe. This one didn't really wow me, though, partly because only a few tunes have a (slightly) country feel, but musically this is your basic southern gospel material, well-played, but not that unique. The big exception to that rule in on one of the album's originals, a song called "Still," which has an unusual arrangement, with reverb-y finger-picked electric guitar, and a couple of other tracks on Side Two have a similarly fluid, folk-influenced feel. The liner notes also don't tell us where the Colemans were from, though they recorded at the Professional Artists studios in Saint Louis, Missouri, and seem to have toured fairly widely, mostly in the Midwest and parts of the South during the '70s and early '80s.

Jimmie Collins & Tex Rogers "How About You?" (Songs Of Calvary, 1963-?) (LP)
A gospel duo from Oakland, California, who sang both as a duo and individually on this album, Collins and Rogers had previously worked in secular country, notably with western artists such as Ken Maynard and a band called the Pals Of The Purple Sage. Though born in Pennsylvania, Rogers got his nickname because he grew up near East Texas, Pennsylvania, an oddly-named dot on the map near Allentown; Jimmie Collins was originally from Chilicothe, Missouri, though apparently they produced this disc by way of a church group in California. They are backed on this album by fellow believers Gene Shelby (on "electric Hawaiian guitar"), Effie Shelby (guitar), Mary Lou Stewart (vibraphone), Royce Collier (bass), and Judith Collier (piano). More than that, I cannot tell you.

Jimmie Collins & Tex Rogers "...With The Grissom Sisters" (Songs Of Calvary, 1964-?) (LP)

Tommy Collins "Light Of The Lord" (Capitol Records, 1958) (LP)

John Conlee "Turn Your Eyes Upon Jesus" (RCR Records, 2004)
(Produced by Bud Logan)
This is one kick-ass country gospel album! No foolin'... '80s legend John Conlee is still a powerhouse performer, with a rich, robust voice that's every bit as strong in 2004 as it was when he was at his peak at a Top Ten hitmaker, twenty years earlier. Conlee still sounds in top form -- if anything, he was singing better than most of the era's current crop of "top country" stars. The music is also quite strong: where many contemporary gospel albums tilt towards cheesy, synthy, low-budget arrangements with tinkly keyboards, etc., Conlee keeps it country with a no-nonsense cosmopolitan twang that's the perfect frame for his deep, booming voice. In addition to numerous religious standards, it includes a new tune, "They Also Serve," Conlee's contribution to the current crop of patriotic country songs, which sings the praise of military families in a time of war. This album seems very heartfelt and purposeful... one of the best country gospel releases you're likely to hear for some time to come!

Joan Conner "From My Heart" (Jewel Records, 19--?) (LP)
(Produced by Rusty York)
An all-original set of gospel tunes written by Mrs. Joan Connor (nee Joan Sampson, of Cambridge City, Indiana) a mother of two at the time of these recordings, who traveled to Cincinnati to cut this album. The liner notes describe how, while still a high school senior, she was told she would be permanently disabled from a severe case of rheumatic fever, but was taken by her father to several faith-healing prayer meetings, and credits this with her recovery. There are no musician credits, though Mrs. Connor notes that she used the Jewel Studio's multi-tracking capability to sing harmony with herself, including a three-part harmony on a tune called "Glad My Jesus Is Coming For Me."

Coy Cook "High And Easy" (Canaan Records, 1968) (LP)
The first solo album by Alabama-born Coy Cook (1924-1996) who sang tenor with several notable southern gospel groups, including The Florida Boys and The Dixie Echoes, as well as his own group, Coy Cook & The Senators, which he formed in the early 'Seventies. Cook was still a member of The Dixie Echoes when he cut this album -- he joined the band in 1966, though it's not clear if he's backed by members of the Echoes, or any of their usual musical backup. Liner notes by ol' Jimmie Davis, giving this one the official seal of approval.

The Cooke Brothers "A Little At A Time" (Cooke Records, 19--?) (LP)
(Produced by Alan Maggard & The Cooke Brothers)
Though the three brothers are not named on this album, but they appear to be Donny, James and Ronny Cooke, the sons of gospel singers Hubert Cooke (1935-2018) and Jeanette Freeman Cooke (b. 1935) who started their career as The Cooke Duet and gradually expanded the family band to include their sons. The Cookes recorded a ton of albums, and it seems the sons carried on without their parents, at least for a while, including this album which probably came out in the late 1980s or early 'Nineties. Here they continue the family's involvement with producer Alan Maggard, working in the studio with a crew that included Jeff Brashears on keyboards, bassist Tim Coughton, Tony Dingus (dobro), Keith Durham (rhythm guitar), Randy Manis (drums), Chuck Tipton (lead guitar), and steel guitar player Eddie Trent. The repertoire includes some older material, such the as title track by the Easter Brothers and "The Darkest Hour Is Just Before Dawn," credited to Ralph Stanley, as well as some more contemporary works, including two songs by Kenny Pauley, and others by Paul Overstreet, Denver Lamb, and Charles Hughes, as well as an original, "Looks Out Across The Valley Son" penned by Ron Cooke. I'm not sure how many, if any, other albums they made in this configuration.

The Cooke Duet/The Singing Cookes -- see artist discography

Gary Cooper & Glinda Cooper "Thanks To Calvary" (Sunburst Records, 1972-?) (LP)
Bedrock gospel with a bouncy, modern country beat, recorded by a husband-wife team from Springfield, Missouri... The Rev. Gary Lowell Cooper (1949-2008) was a trucker by trade, but also worked as an evangelical pastor, as well as attending a local congregation called the James River Assembly. The Coopers recorded several albums worth of country gospel material, with this one possibly being the first. They are backed by veteran gospel singer Jerry Short (of The Countrymen) on bass, along with Short's son Steve on drums, and several musicians Mr. Short had used on his own solo albums around this same time, David Gourley (piano), Jerry Hall (steel guitar), Ray Owens (lead guitar) and Mr. Cooper playing rhythm guitar. Mrs. Cooper, whose maiden name was Glinda Friend, appears to have been a relative of gospel guitar star Dwayne Friend, who himself had multiple guitar-picking siblings, including Derrel Friend (1926-2016), who played on the Cooper's album, Gospel Favorites. The Friend family was clustered around Springfield, Missouri and several smaller surrounding towns, such as Mountain Grove, Nixa and Monett, with show business ties to venues in Branson, as well as several local radio stations and churches. Mrs. Cooper's exact relationship to Derrell Friend and his many brothers is unclear, but it seems likely he was one of her uncles. At any rate, both she and her husband were pretty solid country singers, particularly Mr. Cooper, who had an amiable persona and a Buck Owens-ish vocal tone. They were pretty young when they made this album, so it's possible they didn't start out as secular singer, but if they had, I bet they were pretty good. Also worth noting: even though this LP is credited to the Sunburst label, the fine print also mentions GRS Recordings, in Springfield, which was the local label that also put out their other early album.

Wilma Lee & Stoney Cooper - see artist discography

The Coots Duet "The Devil Is Real" (Skyland Records, 19--?) (LP)
(Produced by Jim Stanton)
The Rev. Thomas Coots and his wife Lou hailed from Middlesboro, Kentucky, though they recorded this set at Champ-Skyland studio in nearby Johnson City, Tennessee. The Cootses were snake-handling pentecostalists who preached on the radio and made a handful of recordings on small private labels, apparently just this one LP and a couple of seven-inch EPs. The material was almost entirely made up of their own originals, as well as one Louvin Brothers song." For gospel-friendly twangfans, this music is golden: it's pure backwoods hillbilly music, though given its rural authenticity and the unusual sectarian leanings of the Coots Duet, it's actually much smoother than you might imagine... Mr. Coots was obviously an accomplished performer, confident and unfussy, with a hillbilly vibe that recalls the craggy fundamentalism of Depression-era singers like Alfred G. Karnes, but with a simplified, straightforward approach that slightly modernizes that older music's "bent" old-timey feel. It's great stuff: somebody should really reissue this album, if possible.

Coots Duo "Coots Duo" (2022) (CD)
(Produced by Abe Partidge)
This is an album of similar material from Thomas Coots's grandson, Cody Coots and his wife Cassy, who embrace the colorful iconography of the snake-handlers on their album art. It's all original music, with the exception of their version of Rev. Coots's best-known song, "Jesus Made The World" credited to Thomas Coots, which was originally released as a 1965 single, and in another version on the album above. According to the family, a storm flooded the family home and destroyed the Coots Duet archives, including reel-to-reel tapes of their radio sermons, and possibly the remaining backstock of their vinyl releases, though those were only pressed in runs of a few hundred discs, and remain rather rare and obscure. (Thanks to the Folk Visions blog for providing some background and song samples of the older Coots Duet records.0

Cowboy Copas "Sacred Songs" (King Records, 1959) (LP)

Cowboy Copas "Inspirational Songs" (Starday Records, 1961) (LP)

Kenneth Copeland "Jesus Country" (Tempo Records, 19--?) (LP)
(Produced by Darrell Glenn)

The Country Cavaleers "Presenting The Country Cavaleers" (JBJ, 1974-?) (LP)
These longhaired Jesus-freak country-rockers hailed from Tampa Florida, though they went to Music City to make it big around 1971, and didn't quite click with the conservative vibe of a pre-outlaw Nashville. The Cavaleers (sic) were ex-rockers Buddy Good and James Marvell, who started out as Nuggets-style mid-'60s garage rockers playing in a variety of little-known bands, including a psych-pop group called Mercy that had a short-lived major-label contract in 1969. But being Southern boys, they also moonlighted in a country band and when the rock gig fell through, they decided to make a go of it as twangsters, combining a shaggy, hippie-esque look with a down-home, moralistic Christian philosophy, spiced up with some pop-rock hooks. They were square pegs in a world of round holes, but a case can be made they were groundbreakers as well, at least as far as their image went... For a couple of years they were in the orbit of the Wilburn Brothers, touring with the old-timers and appearing frequently on their TV show. The Cavaleers made a few waves and got a couple of nibbles from MGM and other labels, but by the time they made this LP, they were deep into the indie/custom label vortex. The duo worked together up until around 1977, with a posthumous live album coming out sometime around 1980. James Marvell, whose real name was Carlos Zaya, went solo for a few years and even recorded some Freddy Fender-esque bilingual twang, but he met with limited success, and later worked as a Christian country artist. (Many thanks to Edd Hurt for his informative article and interview on Perfect Sound Forever, which also includes a discography that includes the Cavaleers numerous singles...)

The Country Gentlemen "One Wide River To Cross" (Rebel Records, 1971) (LP)
(Produced by Charles R. Freeland & Roy Homer)
A swell, all-gospel album featuring the lineup of Bill Emerson, Jimmy Gaudreau, bassist Bill Yates and of course Charlie Waller on guitar. The repertoire is packed with great material, including a couple of Louvin Brothers tunes, Reno & Smiley's "Using My Bible For A Roadmap," several traditional hymns done up bluegrass style and the zippy title track, which kicks the album off. Everything is played in the same rollicking fast tempo, with little variation in delivery or tone. But it's heartfelt and fun... a nice, if slightly monochromatic spiritual set!

The Country Gospel Singers "Country Gospel Singers" (Mel-Tone Records, 19--?) (LP)
One of many groups to use this name, this family band from Murphysboro, Illinois is identified by their pastor's liner notes simply as "Floyd, Vickie, and their children." Their last name seems to have been Mayberry, though, as the credits include Floyd Mayberry on rhythm guitar, Bobby Mayberry (bass), David Mayberry (lead guitar) and a Mr. Charles Mason adding some pretty nice licks on steel guitar. (Meanwhile, the full ensemble, pictured on the front, includes eight people total... Hmmm.) The album really is a glorious mess, with family members singing in various modes, barely meshing together despite some pretty good picking from the band, including some fine Chet Atkins-style chicken-pickin'. Lead singer Floyd Mayberry was super old-school: a croaking, gravel-voiced hillbilly singer in the 1920s style; his wife, Vickie, had a nice high voice with a slight hint of Kitty Wells, but she can't always figure out how to squeeze herself in to harmonize with her more primal hubby, and the kids -- well, they just sound like kids, singing in the background. The whole ensemble could sound reasonably okay, particularly on the uptempo tunes, though the record's one true disaster is a solo vocal by their unnamed daughter, who really sang flat, and also stands out in the family chorus. Still, I find it charming, especially since they're so devoted to older, classic country styles. Not 100% sure, but I think Floyd Mayberry might be the same guy who owns Mayberry Music, a retail store in Jonesboro, which is just about fifteen miles north of Murphysboro, in the far southern end of the state.

The Country Gospel Singers "Thank You For The Valley" (Superior Sound, 19--?) (LP)
(Produced by Duane Allen & Bud Billings)

The Country Parson & The Golden West Gospel Singers "...With Songs On Praise Of The Lord" (Golden West Gospel Singers, 19--?) (LP)
A delightful set of pure, resonant country gospel, with echoes of the Louvin Brothers and family-harmony groups such as the Browns and the Everly Brothers. According to the liner notes, The Golden West Gospel Singers was formed in 1966 by a close-knit group of musicians in Tulare County, California, just north of Bakersfield. Most members immigrated as children from various Ozarks and lower plains states: Ms. Ozell Davis was born in Freer, Texas, while her sister Ramona Lyles was born in Arizona; Ramona's mandolin picking husband Louis Lyles was from Oklahoma, while the group is rounded out by Arkansas-born Rev. Gene Nunly, his wife Essie, and their children June and Larry, who also perform on this album. The cover art is, charmingly, a set of xeroxed pages, hand-pasted onto a plain white jacket; my copy includes hand-written notes that give two other addresses other than the original P.O. Box in Tulare, on in nearby Farmersville, and another in Cororan, in neighboring Kings County. The updated addresses suggest that the group performed live and may have sold these albums as part of Rev. Nunly's ministry, though there's very little trace of Mr. Nunly online, literally only a couple of mentions of his name, and nothing about this band.

The Country Revelators "...Sing Bluegrass Gospel" (Ann Records, 1975) (LP)
(Produced by Tommy Crank)
Straight-up bluegrass gospel from a husband-wife team from Springfield, Ohio, Rev. Ralph Stacy on bass, and his wife Annie Stacy sings harmony, backed by Sherman Brewer (mandolin), Ted Brewer (flattop guitar), and Danny Davis on banjo. Mr. Stacy was a pastor at a church in Springfield, Ohio, where the group had a weekly radio show, every Sunday afternoon on WCHO-AM 1250.

The Country Watchmen "...Sing Songs Of Jesus" (Keed Records, 19--?) (LP)
(Produced by Bill Hunter)

The Countrymen - see artist discography

The Couriers "Kinda Country" (Tempo Records, 1975) (LP)
(Produced by Frank Kejmar & Jesse Peterson)
Yeah, well, kinda. But hey, they made the effort to say they liked twang, so this southern gospel group gets a shout-out here... Not sure where this vocal group was from: the Tempo label was located in Mission, Kansas, though it recorded (and relicensed) records by gospel artists all across the country, notably from Southern California. Some tracks on this album were recorded in Glendale, CA, others in London, England, presumably because the group was on tour. The members aren't identified, making the group harder to pin down. The recorded several Phil Enloe songs, though I'm not sure if there was any direct connection.

John Cowan "Comfort And Joy" (Koch Music, 2009)

The Cox Family & Alison Krauss "I Know Who Holds Tomorrow" (Rounder Records, 1994)
An all-gospel album with Alison Krauss and The Cox family sounds like roots music manna from heaven... Still, I wish this had been a more traditional-sounding record... As it is, this is a bit over-orchestrated and Krauss-y. Guess they just couldn't help themselves. There are several very sweet numbers on here -- sublime, even -- but a lot of stuff that's pretty gooey and overripe as well. Hard to feel the Holy Spirit through all that molasses and corn syrup. Still, for those in the spirit, this could be mighty nice! (Also see my Alison Krauss discography.)

Willie Cox "When He Reached Down His Hand For Me" (Maramont Records, 19--?) (LP)
(Produced by Willie Cox & Rusty York)
Way better than I'd hoped... a for-real country-flavored country gospel album! On the opening track, Kentucky-born Willie Cox sounds a bit like a young George Jones, but settles into a slightly smoother style, vocally reminiscent of Hank Locklin, though a younger Locklin, back when his bands still had some twang. The musicians aren't listed, though I imagine these sessions were packed with pickers from the Jewel Records studio, possibly with producer Rusty York doing some of the picking as well. Plenty of steel guitar, and I dig it. Mr. Cox was born in a little place called Pineville, Kentucky, but he and his wife Brenda where raising the family in Dayton, Ohio when this album came out -- presumably they were tapped into the whole regional hillbilly gospel scene as well. Nice stuff.

Garland Craft "Garland Once Again" (Superior Records, 1973) (LP)
(Produced by Bud Billings & Wayne Hilton)

Floyd Cramer "The Sounds Of Sunday" (RCA Victor, 1971) (LP)

Floyd Cramer "Gospel Classics" (Step One Records, 1991)

The Crandall Brothers Quartet "Sing, Brother, Sing!" (Vision Records, 19--?) (LP)
(Produced by Leon Harris)
The first album by this family band from Campbell, California, a vocal quartet featuring David Crandall, Leland Crandall and their 12-year old little brother, David Crandall, along with Ed Scrivenor singing bass. They're backed by instrumentalists John Adamson (guitar), Leland Crandall (piano), Dale Durant (bass), and Wayne Hunt on steel guitar. Honestly, even though there's some intriguing Chet Atkins-style guitar picking laced throughout the album, these guys are just a little too genteel and stilted for me; very much in the tradition of awkward, prissy, churchy southern gospel vocals. Later on, the Crandall Brothers moved to Benson Sound Records, recording several albums that were pretty popular among evangelical fans.

The Crandall Brothers Quartet "The Old Country Church" (Calvary Records, 197-? ) (LP)
Another outing from the Crandalls -- Dan, David and Leland -- this time with assistance from lead guitarist John Adamson and bass player Ken Culbertson, with additional credits for Berline Scrivner and Ed Scrivener, who are pictured with them on the front cover. A lot of traditional oldies, like "Amazing Grace," "Old Country Church," and "Rock Of Ages," as well as a few less-familiar titles... They lay it on pretty thick in the liner notes, talking about gals coming to prayer in their gingham dresses and whatnot, but the material backs it up. A little too stuffy for me, though there is a little fancy, Chet Atkins-esque guitar picking on a tune or two, notably on "Old Camp Meeting Days" -- nothing that will knock your socks off, but it's nice to hear a little twang, even if it's buried deep in the mix. On the other hand, I hadn't thought it was possible to transform one of my favorite gospel tunes, "Turn Your Radio On," into a sluggish, boring song, but somehow they managed, tossing out the song's innate propulsiveness in favor of some goofy vocal arrangements. Oh, well. The album was recorded for the Fresno-based Calvary label, most likely with Stan Anderson as producer, although I didn't see him credited by name.

The Crandall Brothers "He's Coming Again" (Benson Sound Records, 197-? ) (LP)
(Produced by Larry Benson & Gary Duggan)
Real whiplash on this one... The album opens on a surprisingly robust note, with the slick-but-still-country title track, which falls solidly in the Oak Ridge Boys/Alabama country vocals style... But things get steadily stuffier and more "southern gospel" after that. Side Two has another perky country tune, "Walk On The Water," but it's kinda corny sounding. High hopes, based on the first tracks, soon dashed though by fairly pedestrian arrangements.

Tommy Crank "...Sings Revival Songs" (Pine Tree Records, 197--?) (LP)
(Produced by Roy Hensley)
A straight-up bluegrass gospel set featuring raw, unfiltered rural vocals and primitive guitar picking by Rev. William T. "Tommy" Crank (1926-2007) a real-deal, old-school bluegrasser born in the backwoods of Jackson County, Kentucky who worked with Ralph Stanley, The Isaacs Family and others, and who settled down in Trenton, Ohio, where he worked as a radio deejay for several years, and as a Pentacostal preacher. He's backed here by Buddy Blaylock on banjo, Eddie Carroll (guitar), Tom Rains (mandolin), John Sullivan (bass), Virgil Shouse (fiddle) and backing vocals by Juanita Carpenter and Mr. Crank's daughter, Shirley Crank. There's no date on the album (though it precedes the ones below) and also no composer credits, although I believe there's a lot of original material on here... Mr. Crank is said to have released at least two dozen records, though it's unclear how many were singles as opposed to albums, etc.

Tommy Crank "Sings Bluegrass Mountain Gospel" (Pine Tree Records, 1975) (LP)
(Produced by Ray Hensley)
Rough-edged, deeply authentic bluegrass music with a truly striking, distinctive sound. Trenton, Ohio's Tommy Crank wrote all the songs on this album, with several co-written by Carl Kinder, and one with Syndia Norvell. He's got an all-local band as well: Bruce Andrew and Bill Lyon on banjo, Ray Hall (fiddle), Bob McNeely (flattop guitar) and Eugene Turner (bass), Reggie Wallace (dobro), and Chuck Walton on mandolin. They provide solid, lively, true-twang backup in the high lonesome style of Ralph Stanley's Clinch Mountain Boys, while emphatic, unruly Crank's vocals are feral and foreboding -- the bluegrass equivalent, perhaps, of Howlin' Wolf or Hasil Adkins. Crank's raspy, explosive delivery is really quite striking, a remnant of mountain music's primeval past, or the Alfred Karnes school of white gospel singing, bristling with a rock'n'roll-ish restlessness. Certainly worth a spin if you've ever thought, oh, all modern bluegrass sounds the same, all slick and melodic...

Tommy Crank "Best Bluegrass Gospel" (Pine Tree Records, 1976) (LP)
(Produced by Tommy Crank & William M. Jones)
Where his first album was all originals, this one is mostly cover songs. It includes an original by Hattie Crank, "Weighed In The Balance," along with songs from the Carter Family, George Jones and Bill Monroe... He's working with a completely different band this time: The Gospel Mountaineers included Vernon Bowling (mandolin), Ernest Wells (banjo), Ralph Murphy (fiddle), Alvin Ison (dobro), Jeff Morgan (bass), and Joe Isaacs (from the Isaacs family gospel band) on flattop guitar, with Lily Isaacs adding some harmony vocals.

Bob Criswell & Ethel Criswell "Precious Memories" (Baldwin Records, 1976) (LP)
(Produced by David Still)
A promisingly rural look to this one, though alas, I've only seen it on 8-track, so I don't know how it sounds. According to the liner notes, pastor Bob Criswell and his wife Ethel had previously preached at a church in northeastern Pennsylvania but after seven years in that position, they switched things up and opened a Christian youth camp on a ranch Oswego, NY, which they called El Rancho De Paz. Presumably that's where they were leaning over the stiles and gazing into the future on this album cover... It's a stripped-down set, musically speaking, with just three performers: Bob Criswell (lead guitar and vocals), Ethel Criswell (rhythm guitar and vocals) and their friend Dick Batey adding some licks on steel guitar. The song selection is said to draw on their personal favorites, though unfortunately there are no composer credits, so if any of the tracks were their own originals, no one knows but the Lord.

Wesley & Wanda Cronk "Thanks To Calvary" (Custom Fidelity Records, 19--?) (LP)
(Produced by John Grimes)
No dour fundamentalist jubilee record here! The Cronks were a married couple from Mount Angel, Oregon who recorded several albums and distinguish themselves musically both because they were legitimately good singers, and because they indulge in some joyfully showy theatrics, obviously having fun not just praising the Lord, but also by giving themselves permission to be on-purpose corny and bombastic on a tune or two, including some zippy piano playing (notably on an over-the-top version of "Closer To Thee.") There's a country touch on a tune or two, but mostly this is a cross between churchy gospel and salon recitals. Apparently this album was also issued on the Grimes label, with producer John Grimes of Los Angeles; the Cronks also traveled to California to record some of their other albums. Mr. Cronk was a real ham, and this album is truly a kitschy delight, for those so inclined.

Wesley & Wanda Cronk "Beyond The Blue" (Wesaunda Records 19--?) (LP)
(Produced by Bob Summers)

The Cross Roads Four Quartet/The Juniors "Singing Together" (Universal Sound Records, 1972-?) (LP)
(Produced by Wayne Sexton & Tommy Shirley)
Side One of this album features the original lineup of the Cross Roads Four Quartet, a pretty strictly local gospel group from Columbia, Kentucky, while Side Two is a vocal group made up of several teenaged children of a couple of the group's members. Schuyler ("S. D.") McGaha (1923-2012) seems to have been the leader of the original Quartet, while his son Vernie led the youth group. The first lineup included Ottis Abrall (baritone), Johnny Hitch (bass), S. D. McGaha (lead vocals) and Lucian Ware (tenor), with Vernie McGaha accompanying on piano... The Juniors were made up of three McGaha siblings -- Denise (alto), Ronnie (baritone), and Vernie (lead) -- with Nevis Hitch on piano. There's also backing from a studio band that was probably provided by the Universal Sound studio: Tommy Bellamy (bass), Wayne Sexton (lead guitar), Eugene Sexton (rhythm guitar), and Tommy Shirley on drums. There's no date on the disc, but the liner notes mention the Quartet starting a radio program on station WAIN, Columbia, and that they were currently in their eleventh year singing on the air.

The Cross Roads Four Quartet "Gospel Classics" (Amity Records, 1978-?) (LP)
(Produced by S. D. McGaha)
A later edition of a marvelously rough-edged gospel group from Columbia, Kentucky, which was co-founded back in 1960 by Schuyler D. McGaha (1923-2012) along with tenor vocalist Lucian Ware (1935-2016) who was also still in the group when they made this album. The lineup featured featuring S. D. McGaha singing baritone, his son Vernie McGaha on lead vocals, Lucian Ware (tenor) and Randy Wooldridge (bass), with adequately twangy instrumental backing by steel player Beck Collins, Ricky Johnson (lead guitar), Vernie McGaha (piano) and Bruce Powell on bass guitar. Although not quite the kind of chaotic hillbilly ensemble I adore, these guys were unruly enough that they have a "real folks" appeal that makes them fun to listen to... The musical backing is a bit haphazard (which I like) and the surprisingly feminine tenor vocals have a rambunctious, undisciplined fervor that gives this disc a slightly kooky feel. They made at least one other album (above) and possibly others over the years. (Also worth noting, Vernie McGaha was later elected a Kentucky state senator, serving for several terms in 1997-2013.)

The Crossmen & Reverend John Wacker "Take Time To Be Holy" (Pathway Records, 1970) (LP)

The Crossmen & Reverend John Wacker "Where He Leads, I'll Follow" (Pathway Records, 1970) (LP)

The Crossmen "Victory" (Pathway Records, 1969) (LP)
A solid country gospel group from Flint, Michigan, The Crossmen were a studio band which backed a husband-wife duo called The Walkers on a string of albums before recording under their own name on this album, and those that followed. The quartet included Red Ellis on mandolin, Roy Maples (rhythm guitar), Blaine Rhodes (lead guitar) and Evert Sanders (bass), with Mr. Rhodes laying down some sweet, Chet Atkins-y electric guitar licks. Though mostly vocal numbers, this album also includes a couple of instrumental showcases, "Jesus Savior Pilot Me," and "Will There Be Any Stars In My Crown."

The Crossmen "Let's Be Thankful" (Pathway Records, 1971) (LP)

The Crossmen "...Sing God's Mighty Hand" (Pathway Records, 1971) (LP)

The Crossmen "The Love Of Calvary" (Pathway Records, 19--?) (LP)

The Crossmen Quartet "Heaven Came Down" (Mission Records, 19--?) (LP)

The Crossmen "Rated G (Gospel)" (Tri-State Record Company, 19--?) (LP)

The Crossmen "Better Than Ever" (Tri-State Record Company, 19--?) (LP)

The Crossmen "Gettin' Ready" (19--?) (LP)

The Crossmen "What A Time" (1974) (LP)
(Produced by Joel Gentry & Ben Hall)

Bill Crowe "That Little Girl Of Mine" (Blue Queen Records, 1970-?) (LP)
(Produced by Rusty York)
The first and apparently lone solo album by Bill Crowe, baritone vocalist for the Blue Ridge Quartet, and also one of those country/gospel albums with a creepy album cover, where the singer focussed his attention on a small girl. Yeah, I know, it's playing into anti-hick stereotypes to see this as suggestive of hidden child abuse, but it's hard not to intuitively, if unfairly, to make the association. This was recorded at Jewel Studios with bass player Chet Barnett, drummer Gene Lawson and Junior Spivey on lead guitar... The back cover also includes pictures of Bill Crowe with Nashville personalities such as Ferlin Husky and Danny Davis, underscoring the interconnections between the southern gospel and mainstream country scene of the time.

The Crowe Brothers "Jesus Is Coming" (King Bluegrass Records, 19--?)

The Crowe Brothers "The Gospel Way" (Copper Creek, 1997)

J.D. Crowe And The New South "The Model Church" (Rounder Records, 1994)

The Crownsmen "Sounds Of The Crownsmen" (Manna Records, 1969) (LP)
(Produced by Silas Moore & Glennis Steely)

The Crownsmen "Back To The Basics" (Manna Records, 1981) (LP)
(Produced by Terry Dwyer)
As the title implies, this was a more country-oriented album from this Southern California southern gospel group. Hailing from El Monte, The Crownsmen formed in the early 1970s and self-released their first album before signing to the Manna label. Like many Christian recording artists in the 'Seventies, they tried out a variety of musical styles, but this album is notable for its rootsy feel, which was a little ironic given that it also featured one of the largest lineups of the band's career, nearly ten musicians, which was twice their normal complement. The group dissolved in the mid-1980s but reformed the following decade.

Larry Crump "Authentic Gospel Folk Songs" (Crown V Records, 19--?) (LP)

The Crusaders "Make A Joyful Noise With Drums And Guitars" (Tower Records, 1966) (LP)
(Produced by Larry Goldberg & Hank Levine)
Definitely not a country record, but it's been turning up for years in the same quarter bins as all the southern gospel records, so I finally checked it out... A fairly cynical exploitation of the mid-1960's British Invasion/Byrds-era "big beat" rock sound, this is certainly one of the kitschier gospel records you'll ever find, filled with breezy Southern California pop harmonies, thumping surf rhythms and little flurries of fuzzed-out rock guitars, etc. Obviously the guys at the Capitol-affiliated Tower Records were well situated to produced a groovy, teen-scene rock-gospel exploitation album -- and doubtless this album includes a bunch of ringers from the Wrecking Crew studio group -- but ultimately this album feels more annoying that clever, and pretty insincere as far as the religious message goes, the kind of record that square but sneaky grandparents might give to the family's sandal-wearing teens in an attempt to trick them into "turning on" to Jesus. The music is okay, and it's a funny curio from the 'Sixties, but the material is really unimaginative -- rock arrangements of "Little Drummer Boy" and "Battle Hymn Of The Republic," that kind of thing. I guess Larry Norman and Gary Paxton hadn't quite hit the scene yet, so this is what they had to work with.

The Crystal River Trio "I've Never Been This Homesick Before" (Star Studios, 1979-?) (LP)
A Tarheel gospel trio with country backing by a modest ensemble... The group from Hayes, North Carolina -- Shirley Hulte (alto), Betty Shores (soprano) and Jae Shores (tenor) -- took their name from the lyrics of a Dottie Rambo song that was the title track of this album. They cover several songs by the Rambos, as well as other contemporary gospel and southern gospel tunes from the likes of The Listers, The Speers and Andrae Crouch. Mr. Shores anchored the band on piano, with accompaniment by David Johnson on guitar, steel and violin, bassist Steve McKinney, and Anthony McNeil on drums. The liner notes say this group came together in 1979, and I imagine this record came out right around that time... As far as I know this was their only album.

R. W. Culpepper "R. W. Culpepper Sings" (World Wide Revival Crusades, 19--?) (LP)
Oh, so good. There are few things I like better than finding a truly twangy, soulful country gospel album, and this disc's a doozy. According to Randall Herbert Balmer's Encyclopedia Of Evangelicalism, Richard Weston Culpepper (1921-1983) was a Texas-born Pentecostal "holy ghost" preacher who converted while serving in WWII, then set up his own ministry following the war. Like many evangelists of the era, he seems to have moved around a lot and took part in several shifts and movements inside the Pentecostal movement. His initial postwar ministry was based in Los Angeles, where he was living at least through the early 1970s, though he later moved to Milwaukee, where he passed away in 1983. I don't know the full contours of his career, but the music on this album speaks for itself: with his fervid, slightly froglike, old-man vocals and manic true-believer enthusiasm, Culpepper recalls the musical glories of Depression-era gospel pioneers such as Albert E. Brumley and Alfred G. Karnes, whose emotionally explosive, rapturous style held an uninhibited, slightly nutty edge that many fans find so compelling. This is the sound of country preachin' music before the sleek, stuffy southern gospel movement took all the fun out of everything. Culpepper is ably backed by the Dallas, Texas group known as Bob Wills and the Inspirational Quartet, who I've always been leery of due to the obvious brand-name confusion with western swing legend Bob Wills... But they provide suitably primitive backing, often punctuated with some sweet, sly Chet Atkins-y guitar. Other musicians include David Hollis and Rachel Sherrell, who I'm guessing were backing singers., and who also backed him on his subsequent album, below.

R. W. Culpepper "...Sings Let Go And Let God Have His Way" (World Wide Revival Crusades, 19--?) (LP)
I was so enraptured by the wildness of Mr. Culpepper's previous album that when I heard this one -- which is way more restrained -- at first I was pretty disappointed. But after giving it a few good listens, I got into it. The sincerity is there, and he's still an unruly vocalist, at least in comparison to the blandness of the mainstream southern gospel scene. This was probably recorded and released at basically the same time as R. W. Culpepper Sings, using the same backing band, who still sound twangy, although they don't cut loose in quite the same way. The back cover includes photos of David Hollis and Rachel Sherrell, who both appear to have been teenagers, and gives a mailing address in Dallas, Texas, so "Brother Culpepper" doesn't seem to have moved to LA yet. If you like old-school, fundamentalist country gospel, you're gonna wanna check this guy out.

The Cumberland Boys "Presenting Opryland's Gospel Quartet" (Opryland Records, 1982) (LP)
A modern-day gospel group playing one one of the Grand Ole Opry's amusement park/side-stage venues... There are surprisingly few usual-suspect Nashville session players here, though Terry McMillan plays harmonica amid the otherwise lesser-known musicians.

Billy Ray Cyrus "The Other Side" (Warner/Word Records, 2003)
A big-sounding, very upbeat, Christian gospel album... one of the most dynamic and well-produced of his albums... Too bad he couldn't put the same kind of feeling into his secular discs as well... Still, for religiously-oriented fans, this was probably a real treat. For the style, this ain't bad!

Hick Music Index