Document Records - Vintage Blues and Jazz

Document Records
Guitar Evangelists 1928 - 1951


£7.49    7.49 New

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FEATURED ARTIST / S
Crumpton and Summers
Brother Willie Eason
Blind Willie Harris
Eddie Head and his Family
Sister Mathews
Mother McCollum
Blind Benny Paris and Wife
Sister Elizabeth Phillips
Rev. I B Ware
Rev. Charles White
Willie Mae Williams
Dennis Crumpton and Robert Summers

    TRACK LIST

Blind Benny Paris and Wife
01 - I`m gonna live so God can use me
02 - Hide me in the blood of Jesus

Rev. I. B. Ware with wife and son
03 - I wouldn`t mind dying (but I gotta go by myself)
04 - You better quit drinking shine

Blind Willie Harris
05 - Does Jesus care?
06 - Where he leads me I will follow

Eddie Head and his Family
07 - Down on me
08 - Lord I`m the true vine
09 - Tryin` to get home
10 - Within my mind

Mother McCollum
11 - I want to see him
12 - When I take my vacation in Heaven
13 - You can`t hide
14 - Jesus is my air-o-plane
15 - Oh Lord I`m your child
16 - Glory! Glory! Hallelujah!

Dennis Crumpton and Robert Summers
17 - Go I`ll send thee
18 - Everybody ought to pray sometime

Sister Mathews
19 - Stand by me

Rev. Charles White
20 - How long

Willie Mae Williams
21 - Don`t want to go there
22 - Where the sun never goes down

Brother Willie Eason
23 - There`ll be no grumblers there
24 - I want to live (so God can use me)

Sister Elizabeth Phillips
25 - A little old-fashioned
26 - There`s nothing like the holy spirit

Various artists.

Genres; Guitar Evangelists, Gospel, Religious, Bottleneck Slide Guitar.

Informative booklet notes by Ken Romanowski.

Includes detailed discography.

Willie Mae Williams accompanies herself with adept and precise slide guitar on Don't Want To Go There and Where The Sun Never Goes Down, in the meantime cleaving to older principles. As does Brother Willie Eason, his gruff voice lending emotion to There'll Be No Grumblers There and I Want To Live (So God Can Use Me), his slide completing some of the vocal lines. Sister Elizabeth Phillips is impressively accompanied by Estis King's acoustic guitar, her music indeed 'A Little Old-Fashioned' but, a quarter century later, keeping faith with Benny Paris. Benny and Pauline Parrish were two blind religious singers originally from Woodcliff. It is likely that Blind Willie McTell was responsible for their session as he also recorded for Victor at that time and was somewhat of a pivotal figure in the area.†The duet harmony on their songs is reminiscent of the Nugrape Twins, who also recorded in Atlanta in late 1926 and early 1927. Benny and his wife's I'm Gonna Live So God Can Use Me can be compared with a similarly titled track by Rev. D. C. Rice (see DOCD-5071) and has the same melody as "Glory, Glory, Hallelujah! When I Lay My Burden Down". Virtually nothing is known about Rev. I. B. Ware, With Wife And Son, although we may infer from their deep southern style and their recording in Birmingham with other Alabama religious groups that they are from that vicinity. The rudimentary bottleneck guitar style on both cuts can be contrasted with Blind Mamie Forehand's two takes of Wouldn't Mind Dying If Dying Was All on DOCD-5054. Their rendition of You Better Quit Drinking Shine is one of numerous variants on a theme also known as "God Don't Like It", or "Scandalous And A Shame". Both the New Orleans location and the unmistakable voice lend support to the hypothesis that Blind Willie Harris is songster Richard "Rabbit" Brown. Both of the titles here have a sentimental quality not unlike the popular songs of white evangelist Homer Rodeheaver. Although Brown's vocals are markedly more dramatic on his Victor sides it is safe to presume that a songster's religious material would be more sedate than that of a Street evangelist. The scrap of "Nearer My God To Thee" that Brown builds to a histrionic climax in "Sinking Of The Titanic" (DOCD-5003) is an exception that can be explained by its context. Eddie Head And His Family have the relaxed flow of family groups like the contemporary Staple Singers. A vocal trio driven by tambourine and insistent east-coast guitar, they have an almost hillbilly flavour to their songs like numerous other south-eastern black groups. Lord I'm The True Vine is the same song as that recorded by Blind Gary Davis (DOCD-5060), while Tryin' To Get Home is the same as Willie McTell's from his 1940 Library Of Congress session (BDCD-6001). Mother McCollum's Oh Lord I'm Your Child uses the same melody as "What Kind Of Man Jesus Is" (see Mclntorsh and Edwards, DOCD-5072), while When I Take My Vacation In Heaven is a waltz-time number also done by Rev. D. C. Rice (DOCD-5071). Crumpton and Summers' beautiful guitar/vocal duets were recorded in Augusta, Georgia, although they could be from anywhere in the South. Go I'll Send Thee may have derived from "a nineteenth century religious teaching device: a canto of 12 verses setting forth essential Biblical facts which children were made to memorize" (Mack McCormick, explaining the origin of "The Dirty Dozens"). Nothing is known of the post-war artists here, but they do demonstrate the persistence of a style that had marginal commercial success. Sister Mathews has a shouting vocal delivery similar to Rosetta Tharpe, who was the most famous exponent of the post-war style. Tharpe also recorded Stand By Me for Decca in 1941. Sister Mathews is accompanied by guitarist James Butler, who then becomes Rev Charles White to sing How Long, also known as 'Before This Time Another Year'. The variety and durability of the music on this collection make it a most rewarding listening experience.

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