Porter Wagoner King Of Country Gospel CD

King Of Country Gospel Music

Category	Rock/Pop Albums, Country CDs, Gospel, Nashville Sound
Label	Gusto
Orig Year	2005
All Time Sales Rank	180531
CD Universe Part number	6828326
Catalog number	3001
Discs	1
Release Date	Feb 08, 2005
Studio/Live	Studio
Mono/Stereo	Stereo
Producer	Porter Wagoner

Porter Wagoner King Of Country Gospel Songs

	1.	You Got to Walk That Lonesome Valley
	2.	Where the Roses Never Fade
	3.	Will There Be Any Stars in My Crown
	4.	Old Camp Meeting Time
	5.	I Thought of God
	6.	When the Roll Is Called Up Yonder
	7.	I Won't Have to Cross Jordan Alone
	8.	Just Over in the Gloryland
	9.	Angel Band
	10.	Life's Railway to Heaven

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1951 was a breakthrough year for Hank Williams. He had a string of moderate country hits already under his belt, but the release that year of his version of an old jazz age novelty tune called "Lovesick Blues" suddenly made him a big star. It also meant his touring schedule increased, but he still found time that year to slip into Nashville and prerecord shows for the Mother's Best Flour Company. These good-natured and intimate performances were cut to acetate discs and then played over the air on Nashville's WSM radio station. Brittle, disposable, and made for only a few plays, these acetates were then shelved and forgotten until they were literally rescued from the trash in the '70s by an alert WSM employee. In all, 72 of these shows survived, containing some 143 songs, and this three-disc set is the second installment in Time Life's CD preservation of this amazing treasure trove. The performances are intimate and relaxed, and Williams tackles an amazingly varied ...

Goodnight Irene: The Weavers 1949-1953 CDs (2000) (Import) Box Set; Germany

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There are great records, and then there are records like this one, which is an adventure as well as incomparable listening. And don't be repelled by the 100-plus dollar price tag -- this five-disc set manages to be a hootenanny, a history lesson, a light-hearted voyage through pasts musical, political, and cultural, and a pop-culture travelogue all in one, and an investment that will pay off five or ten times that amount in smiles and a few tears. The usual assumption is that the Weavers started their recording career with Gordon Jenkins at Decca Records, adapting their folk sound into an early-'50s popular style, but disc one dispells this notion, going back to the quartet's true recording debut, for Charter Records in 1949. We walk in on them singing in blues and gospel styles, freely injecting elements of country music and also going for some of the kind of four-way acrobatics that one more commonly associated with pop ensembles of the era -- in other words, doing all of the stuff that they made their names with in their reunion years of the middle/late '50s, except that these sides have mostly been unheard for 51 years. Some of this music is topical and might have come off as dangerously confrontational in the reactionary political climate of 1949, but most of it would probably have slipped by on its sheer beauty and inventiveness, and much of it, if it could have been issued during the 1960s, would surely have found an audience. At least one song, "Dig My Grave," would even have qualified as "world music," had such a term existed at the time, drawing on a Bahamian source. Lee Hays' "Love Song Blues" and the group's original version of "The Hammer Song" (co-authored by Hays and Pete Seeger), which were never even issued by the Charter label, are worth a quarter of the price of this box, and they're only two of the highlights on the first disc. A March-April 1950 demo filled with more topical songs shows some of the material that they abandoned in favor of safer songs when they began recording for Decca the following month, so there is a bit of lost history here -- and the disc is rounded out by eight live performances from WNYC radio from 1949 and 1950, hosted by Oscar Brand, opening with the broadcast on which Lee Hays announces that the quartet have finally selected a name; these recordings preserve the sense of humor that put the quartet over the top with audiences at the Village Vanguard; the broadcast performance of "Love Song Blues" is, if anything, even more impressive than the unissued Charter recording; and despite a few technical flubs, Hayes' "Washington Square Blues" is also a highlight, featuring some killer harmonizing (in a blues idiom) and fascinating acoustic guitar and banjo flourishes. Discs two and three are given over to their history with Decca Records, which is usually maligned by folk purists --regardless of the pop music elements added by Gordon Jenkins, however, the quality of the singing and the care that went into it resound far more loudly than anything else on those records; they might not be ideal representations of what the Weavers were about, but the 54 Decca sides are mostly good and even occasionally superb recordings, displaying a wide-ranging array of musical influences in an era when most pop artists were looking for the safety of Tin Pan Alley and novelty tunes; ...