Slide guitarist Bryn Haworth has still time for one more dance on Ready or Not

Bryn Haworth, slide guitarist par excellence – no, just great guitarist, full stop – has had a stellar recording career with his own albums and as a session musician for the likes of Chris de Burgh, Joan Armatrading, Cliff Richard and Gerry Rafferty. As well as jamming in the 60s with Jimi Hendrix, he has toured extensively with bands like Traffic, Bad Company, Gallagher & Lyle and Fairport Convention.

His career started in the late sixties with “Les Fleur de Lys” a Motown/soul band which became house band for Atlantic Records in England. After moving to California, he became a founder member of Wolfgang, a band put together and managed by the legendary Bill Graham, and appeared on bills with Led Zeppelin, Jefferson Airplane, Taj Mahal and others.

In 1973 he returned to England and was signed to Island Records where he made his first LP, Let The Days Go By and followed this up by Sunny Side Of The Street. These are both excellent albums which I bought on vinyl at the time and, on listening to again recently, have stood the test of time. You know how when you put on a record you listened to as a youngster, you know every line and what song follows what? – that’s me with these two albums.

I talked to Bryn a wee while ago and he told me his moving and powerful story about finding faith around this time and then a little of his work over subsequent years, taking his music into prisons around the country. [you can find this here]

He’s got a terrific new album just released, called Ready or Not and I got chatting to him about it. First of all, I asked him about the prison work which is so dear to his heart and which he’s been involved in for a long time, but which had been interrupted by the pandemic. He told me he’d continued sending talks and music videos for prisons to play on their community radio stations, but that recently he’d begun to go back in both women’s and men’s prisons in Surrey and London for their Sunday services, where prisoners are entitled by right to an hour of religious service.

“It’s coming back, but you can’t do big gatherings. I basically take the Anglican service for the hour, but you get people just coming along because they want to get out of their cells and don’t have any particular beliefs, but they’re just wanting to see something, a visitor, see something different, hear some music. And that’s been really creative, in that it starts them off thinking about God and about their lives.

“We have a Post Office box and prisoners can write to us through that. So we’re in communication with various prisoners, and then sometimes, when they get out, if we feel it’s appropriate, we can see them. We’ve seen some really good turnarounds in people’s lives. It’s not big numbers, but people can genuinely turn around in a major way in prison. What we do is a drop in the ocean, but I think it’s like what Jesus said about the woman who gave her offering to him, “she did what she could.” So we just do what we can. We feel particularly called to this work. It’s not everybody’s cup of tea, but we’ve always felt called to it.”

The new album, Ready or Not is a really fine collection of eleven songs, a couple of rerecorded older songs, some new songs, a great cover of Let’s Stick Together and two nice guitar instrumentals. Bryn is not only an excellent guitarist, he’s a talented songwriter and singer, and this album showcases all of this. And it’s also got a group of very talented musicians contributing. He told me about the making of the album.

“I got the title track Ready or Not and I thought, right, that’s a good title for the album. But just as I was supposed to record it in 2020, Martha Rafferty, Gerry Rafferty’s daughter, asked me if I’d play on an album of Gerry’s she was putting together. [Gerry Rafferty passed away in 2011]. And that was more urgent. So I dropped my own plans and I did Gerry’s stuff. [Bryn contributed guitar work on five tracks on the album, Rest in Blue, which was released to critical acclaim in September 2021].

“So then, I started my own album in November a year ago. I did some live sessions with Paul Beavis [drums] and Dave Bronze [bass], just the three of us together, about four or five tracks. And then it all kicked off after that. I then had rebooked to do some live work in January, but COVID came in and the lockdown happened again.”

So Bryn had to improvise, travelling up and down the country to accommodate various musicians he wanted on the album. People like Henry Spinetti, who played drums in the Climax Blues Band, was previously a member of Eric Clapton’s touring band and played on Gerry Rafferty’s Baker Street, and Teri Bryant, another world class drummer who has done world tours with the likes of Faith Hill, Peter Gabriel and Matt Redman. And then he worked remotely with Chris Stainton, long-time keyboard player in Eric Clapton’s band.

Keyboardist Chris Stainton

So, this album is chock-a-block with top notch English rock musicians and the song arrangements sound like a proper band playing.

It gets off to a great start with the title track with some characteristic Bryn Haworth slide guitar as the song begins. I asked Bryn about this song.

“For me, the whole idea came about when I was playing hide and seek with my niece’s children. You let them go and hide, then you count 20, and then shout “coming, ready or not!” It’s just that whole thing, that you can be doing something, and then you can be suddenly found. And I think Jesus’s return is something we need to be reminded of in the church and the world as well, because to me, it begs the question, am I ready?

“When I first became a Christian, a guy said to me, ‘are you living in the light of his coming?’ And it always stuck with me. It does makes you think. I think generally the album is about that, about that theme – so it’s just that urgency.”

We talked a bit about another song Bryn had written and recorded many years ago, on a similar theme – The Grand Arrival, the title track of his 1978 album. And then I asked him about All I need is a Home, now re-recorded on Ready or Not, which had originally appeared on his 1974 Let the Days Go By album. It’s a beautiful song where you really appreciate Bryn’s singing voice. When I asked him why he decided to include it on this album, he immediately started thinking about his work with prisoners.

“So many people are released from prison and they don’t have anywhere to go. They just end up committing crimes and going back into prison. And there are various homeless charities that we’re involved in as well.

“I wrote that song nearly 50 years ago when I was 23. And that was my experience when I came down to London, then. I didn’t have a home. I slept on buses and bus stations. And then during the day I’d go and try to look for work in music shops, and try and get a gig somewhere, but then I’d go back and sleep on a bench.

“So I know what it’s like to not have a place to live and especially in London, it’s horrible. And I just felt that in the next couple of years, it’s going to be more of an issue in this country, homelessness and people not being able to afford rent, and we’re going to need to do something about it. There are some really good initiatives already going. So I thought recording this song might just help raise the profile of this problem.”

Bryn’s not the young guy he was when he made Let the Days Go By, but here he is still being creative, still making great music, as evidenced by Ready or Not. I wondered what he thinks about getting older and continuing to be creative?

“It’s like the song, Boom, Baby, Boom, that’s on the album. That’s really about this whole thing of getting older. Because when you get older, you feel sidelined, you feel useless, irrelevant, and invisible, and you’re not wanted, but at the same time, you have so much experience from your job, what you’ve been doing and your experience in life.

“And especially as a follower of Jesus, you’ve got so many things you’ve experienced, seeing Jesus working and seeing miracles. I’ve seen amazing stuff happen through prayer. I want to carry that on. Psalm 92 verse 14 says that the righteous will stay fresh and green and they’ll still bear fruit in old age. And that’s what I feel. I mean, as long as there’s something to sing about and something to play, then you keep going as long as your hands are able to play. Boom Baby Boom was about that.”

Boom Baby Boom, a great 1950s style rock’n’roll song with some terrific piano and guitar work, is one of my favourite songs on the album. As I get older myself, I appreciate the positivity here: “You’ve got one life with so much left to give…there’s still time for one more dance.”

When I spoke to Bryn a while ago, he mentioned having problems with his hand, his fingers, so I wondered how that was going.

“Well, you always find there’s a way of playing around it that you can figure out. Bruce Coburn, has problems with his fingers and he’s figured out a way to still keep playing. For me sometimes there’s a way of placing your fingers where you wouldn’t have done normally – you can do it and it still works. You adapt. And I think the thing with slide guitars, it makes it a little bit easier because you’re only playing with a slide, you’re not playing with the fingers so much.”

We Never Thought This Could Happen is a delicious country number. At first I thought it was a song about the pandemic. But as I listened, it seemed to be broader than that – it’s all about the sense of foundations shaking, loss of confidence, “cold hearts and empty eyes” – a hard look at the world as it is.

“I got the idea for the song in a dream ten years ago. In this dream, my grandparents were singing this song, we never thought this would happen, and I thought, that’s really good. And they said to me, don’t you know this song? And I said, no, and then suddenly realized I was dreaming it. And so I better get up and write it down.

“There are two or three songs here that came through dreams. But I think for me how it developed was just looking back in history and it struck me how quickly, how easy it is for the way of life people take for granted to just disappear overnight. And that’s what it’s about. It’s about the things that we take for granted.

“That song’s got many levels, but I think it’s important for people just to think about it. Because it’s not just about the pandemic – although, of course, we never thought this could happen. We never thought our way of life could be disrupted and that’s the weakness that we have.”

I asked Bryn about Enough is Enough, which he released as a single a wee while ago. This is a lovely slice of Americana which starts with Bryn singing over a strummed acoustic guitar and eventually gives way to some sumptuous slide guitar. The song is about our trees being destroyed, which Bryn has been quite vocal about.

“I just changed a couple of lines in this new version. I just think we’re losing so many of our mature trees unnecessarily through the building of houses and roads and railways. The government can say, well we’ll plant more trees, but you know, trees take 150 years to grow. The UK is the least forested place in Europe already, we’ve lost so many mature trees.

“William Blake says, the tree, which moves some to tears of joy, is in the eyes of others only a green thing that stands in the way. I thought that was really good. To a builder, it just stands in the way. But to some people this is massive. This tree is going to outlive me. And then you start to think how much you need them just to live on this planet. They’re just being felled indiscriminately. So that’s why that song is there.”

There’s a great reworked version on the album of Let’s Work Together, which again has some tasty slide guitar. I only knew the Bryan Ferry version, but Bryn put me straight.

“Wilbur Harrison wrote that in 1969. He was a Black American, one-man-band kind of guy, with a bass drum and a guitar. I remember he supported Creedence Clearwater in the early seventies at the Albert Hall.”

Apparently, Harrison wrote the song as Let’s Stick Together and then changed it a few years later to Let’s Work Together. Bryan Ferry went back to the original title and then Bryn went with Let’s Work Together. All clear?

“I’ve gone to the Canned Heat version [a million seller in 1970) and the Harrison version. I just felt that community is the one good thing that I’ve seen come out of these last two years. Our street has gotten much, much better over these last two years – we have a WhatsApp group and we can look after each other, do people’s shopping for them. And I think in the coming years, we’re going to need that sense of community more and more. So that’s why I put this song on.”

The last couple of songs on the album are Holy Spirit of God, and Doxology, the first of which, within the bounds of a lovely tune, contains a remarkable amount of theology. I asked Bryn if he thought there was enough emphasis on the Spirit and what the Spirit does in the church.

“No, I don’t think there is. Christianity is more than having your sins forgiven, as amazing as that is, and then waiting to die to go to heaven. You don’t really hear much about the fact that we’re called to live a new life and God’s got things for us to do. You know, I love Ephesians two verse ten – it says we are God’s workmanship created in Christ Jesus to join him in the work that he does and the good works he’s got ready for us to do. If that’s the case, then I need to be able to recognize his voice because he’s got stuff for me to do.

“And I think the person of the Holy Spirit is so vital to living this new life. I wrote that song just to remind myself that every day, you need to be asking, ‘Holy Spirit, teach me to hear your voice.’ When I wrote it, I just played it to myself. I’m saying it to myself because I just wanted to be reminded. But then I recorded it and I was pleased with the way that it came out.”

The album wraps up with Doxology, a beautiful, finger-picked acoustic guitar piece, which reminds you again what a fine guitarist Bryn is. But more than this, as you listen and begin to think of the words of the Doxology hymn behind the tune, it’s a fitting note of praise on which to complete the album.

Praise God, from Whom all blessings flow;
Praise Him, all creatures here below;
Praise Him above, ye heavenly host;
Praise Father, Son, and Holy Ghost.

Jimmy Carter and his Blind Faith is a ray of hope

“I have always wanted to help people. I hope this project will energize people and change lives. Where there is light, there is hope; and where there is hope, there is a chance.” Jimmy Carter

Jimmy Carter is the last original member of The Blind Boys of Alabama and, remarkably, at 87 has released his first solo album, Blind Faith. He told me he wants this album to be “a ray of hope and encouragement.”

And that it certainly is. In nine songs which encompass gospel, blues, country and roots music and yet cohere wonderfully, Jimmy Carter’s positive outlook on life and faith shine through. The music is great, the lyrics and inspirational and it’s one of the albums I’ve enjoyed listening to most this year.

The album was produced by Ron Pullman – multi-talented guitarist, songwriter, music business manager, writer and wood craftsman – who wrote most of the songs on the album, and who says, “I spent a lot time trying to understand what Jimmy wanted; the feel and message, and the overall sound.”

Guests on Blind Faith include Charlie Musselwhite, Alan Parsons, The Mendelson Choir of Pittsburgh and the Preservation Hall Jazz Band. They all provide a suitable backdrop to Jimmy Carter’s distinctive and still-strong voice, which is the highlight of the album.

Jimmy Carter has been a member of The Blind Boys of Alabama for forty years and has sung for three presidents, won five Grammy Awards, been inducted into the Gospel Music Hall of Fame, and collaborated with a who’s who of the music industry, including Willie Nelson, Marc Cohn, Ben Harper, Peter Gabriel, Mavis Staples, Robert Randolph…the list goes on.

Carter was there in 1939, one of the boys at the Alabama Institute for the Negro Blind, when the Blind Boys started out and began to play church engagements, but he was too young to join them on the road. He began singing with them in 1982 and has seen them become the world’s premier gospel group, legendary musicians and hugely respected far beyond the gospel genre.

I had the great pleasure of chatting to Jimmy Carter while ago (check it out), but was pleased to get the opportunity to speak to him again, specifically about this excellent album, along with Ron Pullman.

Jimmy was in fine form, having weathered the storm of the pandemic. “I’ve stayed well. I have all of my shots and I’m doing good.”

From the kick-off I knew this was going to be an enjoyable chat. Before long, Jimmy was joking that “it’s my first solo album and, I mean, I’m beginning to like it!” It helps, of course, that there’s been so much positive feedback for all sorts of quarters, especially ordinary listeners who are finding inspiration and encouragement in it.

Taking over the interview, Jimmy asked me, “what’s your favourite song?”

That’s a hard one, actually, given the quality to choose from. I mentioned Lord Take Me, a gently rocking Americana track, with some rootsy violin by Ryan Joseph and an oh-so-cool guitar solo. The song morphs beautifully into Swing Low Sweet Chariot with the added harmonies of the Mendelssohn Choir of Pittsburgh. Then again, there’s I Love to Pray, written by Joey Williams, band leader of the Blind Boys of Alabama, which Carter puts across in a very personal way. Jimmy declares, “my faith is strong” and “if it gets rough, I start to pray.”

Jimmy Carter is a man who believes that God answers prayer, and he told me that “prayer is very important to me. When I pray, I think of the verse that says, the fervent prayer of a righteous man does much [James 5 v16]. If someone is connected with God, you can call him and he’ll hear you. That’s what I’ve been doing. I know what prayer will do. I know what God will do, and I know what Jimmy Carter’s going to do. He is going to stay right there with him.”

Talking of favourite songs on the album I wondered if Jimmy had one? “Yeah, I have one. I Am With You Still.”

This is a quite beautiful song, a tribute to Jimmy Carter’s old friend and fellow original Blind Boy, Clarence Fountain, whom we lost in 2018. The song features a choir of young people from the Alabama Institute for the Deaf and the Blind, the school which Jimmy attended when he was a boy.

There’s a great video for the song which shows the young people singing. Said Ron Pullman, “They got to go down and record in a real studio. They got the experience of going to the Sound of Birmingham Studio and it was just amazing.”

Ron went on to tell me that he and Jimmy had gone recently to visit the school again and brought signed CDs for all the students who had performed on the record.

“And it was most touching when Mr. Carter addressed these kids about how you have to stay fast to your faith. And, you know, the things that happened early in his life didn’t dissuade him – ‘I didn’t deviate from my faith!’ I could hear Jimmy calling out in the background – and he ended up performing for several white house presidential administrations and then on every major TV show. And of course, you’ve seen him perform many times around the world. So, it was a most inspiring speech Mr. Carter gave to the students yesterday. It was amazing. I got to tell you, it made me cry, Gary, because Mr. Carter was so inspiring.”

I Am With You Still is an incredibly powerful song about God’s presence with us. Jimmy told me that this is something that is very important to him.

“I was brought up in a Christian environment in my early life. My parents were Christian people, and they told me about God. They told me about Jesus and all of that. And then I had a personal experience with God – I have – and that built my faith. My faith is strong. That’s all I can say.”

The very personal nature of the record comes to a head in the final song, written by Joey Williams, Why Me. It’s a nice bluesy piece where we get some honest reflections on the fact of Jimmy Carter’s blindness.

Ron Pullman said, “In Why Me Jimmy starts out asking God, ‘Why me? Why was I blind? Because all my brothers were all healthy sighted individuals.’ But then at the end of the song, he’s saying to God, how could I have known that you would select me to do God’s work and would give me so many blessings.”

Jimmy added, in a remarkable testimony of faith, “Yeah. That’s what I felt. I felt that I was called to do what I’m doing. You know when I found out that all my brothers could see, except me, I felt all alone. I was blind, but God saw further down the road, he knew what he was going to do. He knew what he wanted me to do. Because I think if I had gotten my sight back, I don’t think I’d be doing what I’m doing now. He knew that that’s what I needed.”

Ron provided some detail about the recording of the song. “When we got into the studio with that song, we realized the third verse wasn’t written. And so we were trying to come up with writing a quick verse, and finally Jimmy says, how about I just go in there at the chorus and speak? And that’s what he did – we all got chills! And what you hear on the record is the very first take when Mr. Carter sat down in front of the mike and did it. I mean, we all got chills and it was a blessing right off the bat.

And the great Charlie Musselwhite plays on the song. And Peter Levin on Hammond B-3. Just so many people came together on that song to keep that bluesy, gospel feel. But I used to always say. blues is the cousin of the gospel. So we kept that real, real traditional.”

Photo: Charlie Hussey

There’s a great song on the album called Dream On, on which the Blind Boys provide the backing vocals. As I listened to it, I love the fact that Jimmy Carter is still talking about having dreams, even though he’s reached a ripe old age. It kind of follows up a line in the title track, Blind Faith, where Carter sings about following the light that God shined for him when he was a boy. He’s followed his dream all these years, despite the difficulties along the way, including his blindness. “Well, you know,” he told me, “I still have a dream and I’m still following it.”

To add to that, however, Ron Pullman said that “Mr. Carter has an amazing dream still, and that is for this album to bring peace and serenity to the world.” Most people at 87 have already kicked back and forgotten about the ills of the world, but Jimmy Carter’s not finished yet.

In addition, there’s one particular dream Jimmy mentioned to me, that he and Ron are currently working on. “There’s one special thing I want to do before I retire, I want to go and perform in Jerusalem on a Christmas Day. That’s my dream right now.”

It’s one thing to dream your dreams when life is easy. But as you look at Jimmy Carter’s life, for sure there’ve been hard times – not least growing up in the Jim Crow South and, of course, his blindness. He remains resolutely positive:

“Well, you know, that’s when my faith comes in. Like I told you before, I have had a personal experience with God. I know what he will do. I know what he has done and know what he will do. All he’s asking me is to keep the faith and I’m going to do that. My faith is very strong.”

This positivity shines through every song in the album. But it’s not positivity for the sake of it, some attempt to make the most of things. There’s an authenticity here, a sincerity and a joy which is just part of Jimmy Carter. He’s a man who has learned, like St. Paul in his letter to the Philippians, “to be content, no matter what happens to me” because of the “great joy of the Lord.”

Ron Pullman spoke movingly of the great blessing it has been for him “to be able to work with an icon like Mr. Carter. It’s just been a life changing experience.”

Blind Faith finds Jimmy Carter in strong voice and ever-hopeful spirit. Ron Pullman has done a fine job of arranging the songs and assembling the perfect set of musical contributors for each song. It’s an album that will appeal to a wide range of listeners and one which will inspire and speak to each one.

Thank you, Jimmy Carter, for your message of peace and encouragement in these dark times.

From Sharecropping to Soulful Singing – Jack Ward’s Remarkable Story

Jack Ward was a successful Stax recording artist, but, remarkably, has never made an album – until now. At a lively 83 years old, he has released a fabulous album of bluesy, soulful gospel songs, Already Made, on Bruce Watson’s Bible and Tire Recording Co. label.

“I was born in the country,” says Jack, “and I would hear Elmore James, John Lee Hooker, Lightnin’ Hopkins, Howlin’ Wolf, all of them guys — and I used to patronize them, and sing like them a little bit, but I came back to my roots. I used to do a lot of blues singing but I broke from that and got into the gospel.”

Jack was the lead vocalist in a 1960s group along with Isaac Hayes on piano and had several hit records with both Stax Records and Peacock Records. He retired from professional singing to concentrate on being a church pastor in Memphis, and although his outstanding singing voice has been heard often in his church, this outstanding release from Bible and Tire gives the rest of us the opportunity to appreciate his considerable songwriting and vocal talent.

Elder Jack Ward’s re-discovery comes as a result of Bruce Watson working with Juan D Shipp on the old D-Vine Spiritual’s back catalogue. On finding some of the artists still alive and active, Watson has had them in the studio, with brilliant results. Elizabeth King’s Living in the Last Days was released to considerable critical acclaim and now we have Ward’s Already Made. [Catch our interview with the remarkable Elizabeth King here.]  Produced by Watson and Sacred Soul Sound Section leader Will Sexton at Memphis’s Delta-Sonic Sound Studio, the ten song program features the warmly-recorded winning ingredients that are becoming a trademark of Bible and Tire’s patented Sacred Soul sound, from Ward’s spirited vocals to the crack studio band laying down the grooves behind him.

I was delighted to get the opportunity to chat to Elder Jack Ward about the album, his music and life. I found him justifiable proud of his past singing career, performing and recording in the 1960s.

“I did a recording with Stax, Don’t Need No Doctor. It’s been so long, man, fifty years, but that’s what put me on the top. It was all just about for two years a hit. The Christian Harmonizers, we were with Stax and we went out on the road. I did a lot of writing myself, my own songs. And then I put a group together called The Gospel Four. That’s when we put out, Look Down the Lonesome Road and Change Gonna Come. And that put me in the spotlight.”

When you listen to Jack Ward sing, you hear a soulful tenor voice, with great range and a sweet falsetto. I asked about choosing gospel music rather than blues or soul.

“My mom, she was a singer and, I used to hear her – see, I’m a country boy – she used to pick cotton in the country and drive tractors and mules and she would sing songs. She was the one that kept me in the church whenever I was a lad of a boy. I was the only son and I had two sisters.”

Jack was singing from a young age, better, he said, than the “white boys” he knew, who would get him to sing for them in Moorhead Mississippi. “They heard me sing and I was I think about 10. I’d say, ‘Come on, who you want to hear?’ I used to do Earnest Tubb’s Walking the Floor Over You, Hank Williams and all of that. And they would give me a dime, fifteen cents.”

Jack left his home on the farm and came to Memphis when he was 18 – “I had it in mind to make me a hit record.” He went back and forth for a couple of years, but settled, he told me, when he was 21 and has been in Memphis ever since.

“And I had my mind set to come to Memphis to sing blues or rock ’n’ roll.” But some school friends said to him, ‘Look, man, we need you to sing gospel,’ so he joined the Christian Harmonizers, making a number of successful gospel records before going on to form the Gospel Four in 1968. The Gospel Four had an altogether different sound and style than the Christian Harmonizers, as exemplified by the gripping testimonial The Last Road and the mid-tempo, minor-keyed A Change Is Gonna Come.

“That was something that I enjoyed in my heart,” Jack told me, “and maybe this stopped me going to rock and roll and the blues and I’m glad that I turned around and got into the gospel.”

He earned the moniker “Jumping Jack Ward” around this time, “because, you know, I had a little jump from the singing. It was no outstanding thing, it just made me feel good. And I just do my little thing and they called Jumping Jack Ward.”

For the last fifty years, though, Jack has been Elder Jack Ward. He had started pastoring before his professional singing career finished –  “I was doing evangelism and so on” – and went on to found the Earth Temple Holiness Church, which he has led for the past 57 years, although he started to “pass things back” a while ago.

Jack is clearly – and justifiably – quite delighted about the new album and the opportunity to get on the road. “Now this would be my first album [as opposed to 45 singles]. So this is where I am now at this time. I plan to do some traveling as soon as we get everything lined up. I’m an 83-year-old man!”

Watson feels that Already Made is one of the best albums he’s ever produced – given some of the albums he’s worked on at Fat Possum, that’s saying a lot. It is, indeed, very, very good, with Ward’s soulful vocals beautifully backed by both his daughters and Bible and Tire label mates the Sensational Barnes Brothers. Guitarists Will Sexton and Matt Ross-Spang add a little magic to the mix, adding variety to the songs, from the distortion on He’s Got Great Things to the cool reverb of Shout Trouble’s Over to the shimmering vibrato of God’s Love.

God’s Love is a lovely song, with Ward’s tender vocals giving a great sense of somebody who has personally experienced God’s love and care over the years, despite life’s difficulties.

“When you weak, he will make you strong, when you’re lonely, he would never leave you alone. So that was a comfort to me a whole lot. I didn’t drop out. I just kept doing what God had gave me from birth. I love that one, God’s Love.”

Other songs, like Someone Who Is Greater Than Me, Lord I’m In Your Care and God’s Got a Hold of My Hands, all convey the same positive message of Ward’s experience of faith in the nitty gritty of his own life and those of the many people he has pastored over the years.

He’s someone who knows about hard times – not that he’ll be forthcoming in complaining in any way. I asked him, for example, about his early life, and he told me about life in a family of sharecroppers in rural Mississippi in the first half of the last century. Life wasn’t easy, to say the least.

“We was raised up on a farm. I had to work on the farm, my family and I, and my two sisters. And we had to chop cotton, pick cotton. When I turned 17, I was working with my father and some men that he had hired. And we cut wood for cross ties that goes on the rail road. So I was working, doing, the job that men was doing. I was pretty apt to catch on.

One Row Planter

“And, as I just come up through the years, I applied to use a one row planter. You had to put the mule on the row with the planter, and you had to walk on the top of it, one road planter, and man, it was hot. We was in the sun. 85 or 90, sometime they would get up there to 105. My head, it was black in the sun! I’ve done some bogus work. I’ve done everything, drove tractors and drove mules and baled hay.”

Sharecropping is a system where the landlord allows a tenant to use the land in exchange for a share of the crop. Mississippi tenant farm families were often kept severely indebted. The landlord would extend a line of credit to the sharecropper while taking the year’s crop as collateral. The sharecropper could then draw food and supplies all year long. When the crop was harvested, the harvest was sold and the debt settled, but with no added benefit for the sharecropper.

“Sharecropper,” Jack mused. “But you would get nothing out of it. You wouldn’t get anything out of that because the boss man, he tell you, ‘Well, Jordan’ – that’s my daddy’s name – he said, ‘y’all just come out, outta debt.’ And so daddy said, outta debt? He said, ‘well, we’ll loan you some money and go through the winter.’” Jack chuckled as he recounted this.

Remarkably, he remembers the good things about those days. His family never went hungry – “because, we raised vegetables and water melons, sweet potatoes, corn, popcorn. We hunted rabbits and stuff like that. And we never did get hungry.”

“I mean, back in the old days, it was pretty good, because, we didn’t have no responsibility like, lights and all of this, ‘cause we didn’t have lights. During that time we had to use kerosene, paraffin, stuff like that, and when the boss man put lights in our house, man, I tell you, I was just so happy.”

“You know, you was in the country. You didn’t have nothing too much to worry about. You had to work hard and they pay you little money. So from that point, yeah, it was tough. But, people was not sick. Like a lot of people now. See, we had chickens, geese, mules and all of that and hogs. Getting close to wintertime, dad would kill a hog. We was in the field and didn’t get sick because you would get out in the heat and sweat all that stuff out. You didn’t have no high blood pressure. They didn’t have no headaches and diabetes.”

Jack remembers being able to dress up once in a while, putting on his best shoes and a suit. “Looking back, we was taken care of. We just did so much hard work, bogus work. I call it like that. You didn’t get no pay amount to anything. I’ve chopped cotton for a dollar and a quarter a whole day. We moved on from that, but, you know, I thank God for how he kept me and I didn’t get sick and a lot, but I just thank God for this time.”

Elder Jack Ward has an incredibly positive attitude to life, and thankfulness is clearly a mark of the man. You just have to listen to He’s Got Great Things Waiting You, to get a sense of the way his faith gives him confidence in God, no matter what life throws at him. “Dry your eyes, and don’t you cry, your blessing is so nigh.”

At 83, Jack knows the road ahead is shorter than what’s behind, but his sense of gratitude, his faith and his enthusiasm for life as inspirational. “I know we all got to leave here, but a whole lot of my friends, they are gone. So I’m thankful. I thank God for just keeping me alive. And I’m doing pretty good and my ministry and then my singing career – I love both. I love singing. I love preaching. I love teaching and that’s me.”

The album finishes with Ward’s favorite, I Feel Better Since I Prayed. When I asked him about it, he got on the theme of thankfulness again.

“We do pray the prayer of Our Father, but perhaps you want to thank God for what he has done and how far he has brought you. And you look back and you see a lot of your friends and your school mates in the singers, they are gone and we are blessed to be here. Now, I’ve got a song called You’re Blessed to be Here, with the Sunset Travelers. You’re blessed to be here. And I tell people without God, we are nothing because he wakes us up in the morning. We have a lot to be thankful for.

“And I thank God every day. You know, you don’t have to be screaming, hollering, you can just pray in your spirit. When we leave home and go places, when we get ready to get out of drive, my wife prays and I’m driving. God has brought us through a lot of things. So I just take a step every day. I don’t worry about what tomorrow would bring. The Bible tells us that the morrow will take care of itself. And, we just go one day, when you wake up, you’re thankful that you are alive. I tell people when you wake up, you sit up and you get up!”

“You can give God praise, you got to tell him, thank you for another day, you kept me, you kept your arms around me.”

He may have just recorded a terrific album in Already Made, but there’re no sense of Jack Ward resting on his laurels. He’s looking to the future with a thankful heart and an optimistic spirit. “I tell people there’s a whole lot to be done and a little time to do it. So I got a message. I got a message I’m going to do on that. It’s a whole lot to be done, but a little time to do it.”

We hear you Jack.

[Check out our interview with Bruce Watson, telling the remarkable story of Bible and Tire here.]

Amazing Grace – “a song that gets to everybody”

A look at the history of this powerful song and some of the bluesier arrangements. “That’s a song that gets to everybody” – Marion Williams.

I stumbled upon an album the other day that brought a smile to my face as I listened. Its title is Amazing Grace and it was released in 2020 by those great folks at the Music Maker Foundation. As I listened, I realized that Amazing Grace is not just the title of the album, but that every song is a version done by a variety of roots musicians, including Guitar Gabriel, Guitar Slim and Cora Fluker. It’s raw, it’s honest and it serves to show the power of this old hymn to connect over 200 years since John Newton penned the lyrics.

Guitar Gabriel

Piedmont bluesman Guitar Gabriel, who contributes a couple of versions to the album, was once arrested for stealing a package of bologna and a bottle of wine from a supermarket. When he appeared in court Judge Freeman asked him if he did it. Gabriel replied “Yes sir, I did, and I am ashamed.” Noticing that Gabe had brought his guitar into the courtroom, the judge asked if he could play Amazing Grace. “Yes, sir,” Gabe answered as he picked up his instrument and began to sing. As the last notes of the song resonated, the judge pronounced Gabe “Not Guilty” and he was carried out onto the streets by a cheering crowd. Amazing grace indeed!

There are a lot of great, bluesy versions of the song. Here are two of my favourites: the first by ace Austrian slide guitar Gottfried David Gfrerer on his resonator; the second, Brooks Williams, who hails from Statesboro, Georgia, now resident in England, with another stunning slide guitar version.

Gottfried David Gfrerer

Brooks Williams

John Newton was a notorious slave trader in the eighteenth century, who mocked Christian faith, and whose foul language made even his fellow seamen blush. In 1748, however, his ship was caught in a violent storm off the coast of Ireland, which was so severe that Newton cried out to God for mercy. After leaving the slave trade and his seafaring life, Newton studied theology and became a Christian minister and an ardent abolitionist, working closely with William Wilberforce, a British MP, to abolish the slave trade in the British Empire, which was achieved in 1807.

The song clearly references the struggles of Newton’s own life and the remarkable change that had taken place in him.

The tune we know now for the song was composed by American William Walker in 1835 and became popular in a religious movement called the Second Great Awakening which swept the US in the 19^th century. In huge gatherings of people in camp meetings across the US, fiery preaching and catchy tunes urged the thousands who came to repent and believe. Amazing Grace punctuated many a sermon.

Walker’s tune and Newton’s words, says author Steve Turner, were a “marriage made in heaven … The music behind ‘amazing’ had a sense of awe to it. The music behind ‘grace’ sounded graceful.” Walker’s collection of published songs, including Amazing Grace was enormously popular, selling about 600,000 copies all over the US when the total population was just over 20 million. 

Here are the Holmes Brothers with a passionate and soulful version

Anthony Heilbut, writer and record producer of black gospel music has noted the connections of the song with the slave trade, saying that the “dangers, toils, and snares” in Newton’s words are a “universal testimony” of the African American experience. Historian and writer, James Basker, chose Amazing Grace to represent a collection of anti-slavery poetry, saying “there is a transformative power…the transformation of sin and sorrow into grace, of suffering into beauty, of alienation into empathy and connection, of the unspeakable into imaginative literature.”

Here’s the Blind Boys of Alabama’s version, this time to the tune of House of the Rising Sun.

The song was popularized by Mahalia Jackson, who recorded it in 1947 and sang it frequently. It became an important anthem during the civil rights movement and opposition to the Vietnam War.

The song has been recorded by a great many artists over the years, those with faith and those without, such is the power of the song. These include Aretha Franklin, Rod Stewart, Johnny Cash, Sam Cooke, The Byrds, Willie Nelson, and of course, Judy Collins, whose 1970 recording, which I remember well, was a huge hit in both the US and the UK. Collins, who had a history of alcohol abuse, claimed that the song was able to “pull her through” to recovery.

The song’s long history and its evident power to touch everybody, whether with Christian faith or not, is evident, summed up by gospel singer Marion Williams: “That’s a song that gets to everybody.”

Two final versions: the first in the hands of acoustic guitar maestro, Tommy Emmanuel, here accompanied to excellent effect on harmonica by Pat Bergeson; the second a short moving version on harmonica at the site of Rev. Martin Luther King’s grave in Atlanta, by Fabrizio Poggi.

Oh Mary Don’t You Weep

Bruce Springsteen and his Seeger Sessions Band kicked off their tour on April 30, 2006 at the New Orleans Jazz Fest, with a stirring version of Oh Mary Don’t You Weep. It was a mere eight months after Katrina had devastated the city and, in a performance hailed by a local critic as the most emotional musical experience of her life, Springsteen sought to inject some hope into the city with his collection of spirituals and roots songs.

This opening song is an old spiritual, a slave song, that heralds the theme of liberation and new beginnings. The recurring phrase “Pharoah’s army got drown-ded” recalls the Old Testament story of the children of Israel escaping slavery in Egypt in the Exodus. This was a story that had captured the imagination of people who were enslaved or disenfranchised (it was an important song during the Civil Rights movement). Black slaves resisted the bondage they suffered in a whole range of ways.

One of these was the sort of religion they developed, a Christianity that was not just that of their masters. Theirs was a faith where freedom and liberation were vigorously affirmed and one where black humanity was affirmed, despite everything that slavery and white people said. The songs sung were often coded messages of hope and resistance. Their God was the God of history, who works and intervenes in our world to bring change and transformation. A God who brings life from the dead.

The other recurring phrase in the song is “Oh Mary don’t you weep, don’t you mourn,” which for me refers to Mary Magdalene, who stood weeping at the tomb of Jesus that first Easter morning. She had lost her friend and his body was nowhere to be found. Her weeping and mourning is dispelled, however, by meeting someone she thought was the gardener, but who turned out to be Jesus, risen from the dead. It’s remarkable, that in a world where a woman’s testimony was thought unreliable and not viable in a courtroom, the gospel writers were willing to record the women as the first witnesses of the resurrection – not something you’d do, if you were trying to pass off a story.

The resurrection is right at the heart of Easter, and at the heart of Christian faith. In fact, there’s no point in faith at all, if it’s not. If it didn’t happen, as Paul, Christianity’s first exponent and himself a witness of a risen Jesus, said, then, we might as well just eat, drink and be merry. Christian faith doesn’t make any sense without the resurrection.

But with it, suddenly there are possibilities. Christian faith says that, because Jesus is risen, there is to be a new creation – the evil and the injustice we see in our world is not the last word. Pharaoh’s army got drown-ded all right; the challenge is to find the promised land, to be people who bring life from the deadness around us by living out, and seeking the love, peace and justice of, God’s new creation right now.

Finally, here’s Kenny Meeks’s great Easter song, which draws out the personal hope of Easter, which stretches beyond this life.

Elizabeth King’s Living in the Last Days is a gift for us all.

“Her words have a clear message, but her deep feeling could move anyone.”
VICE Magazine

Photo: Houston Cofield

Elizabeth King is a remarkable woman. She was the female lead of a successful, previously all-male gospel group, The Gospel Souls, in the 1960s and 70s, which had a significant gospel hit on the D-Vine Spirituals label, I Heard the Voice.

She quit singing professionally to raise her children, and now, after a hiatus of nearly 50 years, she has gone into the studio to record a fabulous new blues-tinged gospel album, Living in the Last Days, on Bruce Watson’s new Bible and Tire label. [check out our interview with Bruce here]

Her powerful vocal performance on the record, reminiscent at times of Mavis Staples, is supported by a top-class band assembled by Watson (Will Sexton and Matt Ross-Spang (guitars), George Sluppick (drums), Mark Edgar Stuart (bass), and Al Gamble (organ)) and features the excellent harmonies of Christopher and Courtney Barnes from The Sensational Barnes Brothers. It’s a funky, blues, soul-filled pot of rich gospel fare.

Down at the Crossroads called Ms. King at her Memphis home, and asked her about making the album. She said first of all that this album was her debut solo album and it’s been forty-seven years since she stopped singing professionally. She told me that she was “just sitting at home one day,” when Pastor Shipp, the founder of the 1970s D-Vine Spirituals label, who had recently started collaborating with Bruce Watson, called her up. “And he asked me, did I want to record again? I told him, yeah. That’s how it came to be.”

From initial call to getting into the studio was very quick – “Yeah, no time for rehearsal or nothing,” said Elizabeth.

I asked her about the songs on the album, all terrific, positive songs. She told me that there are some that she has been singing for many years, and some that Bruce Watson brought to her. “And then there are a couple of songs on there I did myself that I have been singing from when I was, you know, a child growing up. The song Walk with Me, my mom used to sing that to me. And then, I got a song, Blessed Be the Name, I kinda got most of that out of the Bible.”

She sings this song unaccompanied on the album, a quite spine-tingling performance. The song tells the story of Job, perhaps a story that not a lot of people are familiar with these days. Job is a character in the Old Testament book of the same name, who suffers tremendous loss, including his family and all his possessions, but somehow is able to say, “God gives and takes away; blessed be the name of the Lord.”

“To me,” she told me, the story “means that we can be blessed, in that God gives us a thing, and he has a right to take it away. And, I take the role of Job to just be patient. And when things are going good, or going bad, you just have to be patient.”

That’s a lesson that Elizabeth King has learned through the ups and downs of life. “Well, I kind of learned it mostly through my lifetime. And when I was a child – because my mom, you know, would tell me she gonna give us something, but you got to wait for it. So, as I got older. I found out that if you really want something, just wait, it’ll come.”

Elizabeth King was born in 1944 and grew up in Charleston, in Tallahatchie County, Mississippi. Life wasn’t easy, with the young Elizabeth having to help the family pick cotton before going to school each day. Positive person that she is, she had nothing negative to say about that.

“Well, to me it was fun, I guess, because that was all I knew. And we had to walk a long way to school and I would get tired walking, so my brothers would carry me because I was younger than they were. But it was a lot of picking cotton and chopping cotton. I loved to chop cotton. It really wasn’t so hard for me because I guess I was the only girl in the family and my brothers kinda spoiled me a little bit.”

I mentioned one of the songs on the album to her, Testify, which is a rocking, upbeat number. I wondered if, looking back over the years, this song of a testimony to God’s goodness and God’s guiding hand, reflects her own experience?

She told me that she had recorded a version of this song back in 1970, but was keen to have it on this new album, though rearranged somewhat. “It’s been a part of my life, because I’ve gone through quite a bit. I got fifteen children, and I’ve gone through three accidents. So, I do have a testimony.”

Elizabeth King quit recording music in the mid-seventies to concentrate on family life. She told me she has fifteen children, 57 grandchildren and 33 great-grandchildren. And she is proud of every one of them, including some of her grandchildren who are now recording artists in their own right.

“When my children were small, I stopped. Let’s see, what year was that? It’d be around, 1970, maybe 1972, and an opportunity for travel overseas came. But my children, my older two, were small and I didn’t want to leave them. So, I stayed at home to raise my children. Everybody said ‘you won’t get a chance to do your dream if you have to wait until your kids get grown.’ But I still have an opportunity. I just still believe I would have an opportunity to sing, you know?”

And here she is, all these years later, having just made this wonderful album. Not that she had quit singing entirely – for many years she has been singing in her church choir and singing solos. But “the only music and singing I know is a spiritual song and they call it a gospel song.” She was never interested in sing the blues or R&B.

“I guess because my heart just wasn’t in it. I didn’t like going to parties and stuff like that when I was young, I just didn’t like it because I always was afraid of drunk people.”

I asked Ms. King why music is important to her, and in particular, why gospel music is so important to her. She told me that it was her way of communicating with God and the source of God’s power in her life – to help her “be a better person. That’s what inspires me.”

And what does she think is at the heart of gospel music? The music, the feeling, the words?

“The words mostly would count for me. The music is good, don’t get me wrong. But it’s the words that carry the message for me. Because you know, you got some songs that they call gospel songs but they really don’t have too much of a meaning. But when you sing songs like Precious Lord or Amazing Grace, when you sing songs like that, it touches people’s heart. If you do it from your heart it’s going to reach the heart of any man, whether he’s saved or unsaved, and you can connect to that spirit.”

She had mentioned the accidents that had affected her life and I asked in particular about the one back in 1969, that was very serious.

“That one was a serious accident. I worked for a florist at the time, and a man hit me head on. I stayed in the hospital, I think, around 17 days. I really couldn’t remember anybody coming to visit me, but there was this one priest in the hospital that would come in every morning and ask me, ‘My child. Can I pray with you today?’ I would say, Yes. And so, when I came to myself, I was asking the staff, you know, the nurses about him. And they said that they didn’t have anybody on their staff like that. So, I said, who was this? Now I never could see his face, so I just described his body and what he had on and all of that. And they said, ‘we don’t have anybody like this on the staff.’ So, I just started praying and I just knew it was God. I knew I was in bad shape. I really was; I had to learn to walk all over again.”

With her remarkable recovery, Elizabeth King said she “dedicated my life to God, to my singing and to try to encourage people. My job now is just try to encourage people…when you’re going through something, just turn to God. If you don’t know him, get to know him.”

I wondered how Ms. King had got on with the musicians when she’d gone into the studio to make this record, and how had she learned the songs so quickly.

“Oh, they had the music all lined up for me and I don’t know, I just sing to the music! I used to be real fast learner when I was young, but the process of learning now is quite a bit slower, as I get older. But it wasn’t hard for me to adapt to the music because, you know, I never stopped singing. I’ve been singing all the time. I just hadn’t recorded.”

The album finishes with a very cool, bluesy version of one of my favourite songs, You Got to Move, famously recorded by Mississippi Fred McDowell and then, of course, the Rolling Stones on their Sticky Fingers album. I’ve always thought of that song as a resurrection song. When the Lord gets ready, you gotta move – it always reminds me of Ezekiel’s valley of the dry bones. Elizabeth agreed and said, “I would say no matter what nobody tried to do to keep you here, when it’s time for God to say you got to move, you got to move. I just love it.”

I asked her about another song on the album, A Long Journey, another one about Christian hope which talks about going home to get your crown. Elizabeth said, “My mom used to sing that to me when I was a child. Now that was a long time ago because I’m 76 years old! And that song has been with me all these years, but she used to tell me that I’m gonna leave you one day. I’m going on a long journey and I won’t be back. And I tell you, that song, it has stayed with me in the heart, and anytime I record an album, A Long Journey going to be on there.”

We finished up our conversation by talking about Elizabeth’s faith, which is clearly central to her life and being. She told me, “It’s been important to me because of the things that I suffered, things that happened to me, a lot of things that I had to go through. My faith made me strong about suffering, that’s what made me strong.” Life has not been easy for her, but she is certain that it was God that kept her going in the hard times and it was her faith that sustained her. “I believe in God, God gives me strength. And that would keep me going.”

Elizabeth King is a remarkable woman. She is positive, upbeat, ready to take on the next challenge and opportunity in life. She is a breath of fresh air. Here’s what she finished our chat with:

“Every day I get up, I thank God. Just let me be able to just take care of myself you know, and I just thank him. And I’m going to keep on trusting him until the time comes when he says that you gotta move!”

Living in the Last Days is testimony to Elizabeth King’s remarkable spirit and faith. Not only that, it’s a top-notch album, full of great songs, music that touches you, and Ms. King’s powerful vocal performance. It’s a gift for us all.

Rev Gary Davis – A Great Change

Bob Dylan called him “one of the wizards of modern music.” His biographer, Ian Zack, called him “one of the world’s greatest, if not the greatest, of all traditional and ragtime guitarists” And for Alan Lomax, the folklorist, he was “one of the great geniuses of American instrumental music.”

We’re talking about Rev. Gary Davis, the blind son of dirt-poor sharecroppers in South Carolina, who went on to exert a major influence on the folk scene of the 1960s and the early rock scene of the 70s. Yet for most of his career, he refused to perform blues music publicly until the latter years of his life.

He was remarkably musically gifted and his guitar virtuosity was an inspiration to people like Jorma Kaukonen, Bob Weir, Stefan Grossman and many others. Davis was born in 1896 in the Jim Crow South Carolina, became blind as a small child, and was abandoned by his mother. Raised in poverty by his grandmother, it was a thoroughly unpromising start. But she made sure young Gary went to church where he sang in the choir. He took up the guitar early, playing spirituals in earshot of his grandmother and other songs learned from traveling minstrel shows when she wasn’t listening,

He began to have real success as a musician in his late teens at picnics and in string bands, then playing on street corners for nickels and dimes, eventually adopting the rambling lifestyle of the wandering bluesman. But, at the age of 38, when his mother was dying, Davis experienced a vision, where an angel, appearing as a child, called him to God. Right there, he says, he “surrendered and gave up. Gave up entirely.” He soon was ordained as a Baptist minister.

He now harnessed all the musical skill he had amassed in playing ragtime, jazz, blues, and minstrel music and his considerable creative energies in composing and playing spiritual songs in pursuit of his new calling in life. There had been a great change.

One of Gary Davis’s song which reflects this is simply called Great Change Since I Been Born, and I got to thinking about it, when a good friend of mine, Gary Bradley, an Irish musician, sent me a recording he had made of the song for use in the book launch of my new book.

The reason I wanted the song is because my book, Paul Distilled is about the thinking of the apostle Paul, whose letters form part of our New Testaments. He, too, experienced a great change – from a man of violence to a man promoting love and peace, because of his own encounter with God. Specifically, meeting the resurrected Jesus on the famous Damascus Road. In his letters, it’s clear that he thought the epoch-shattering event of Jesus’s resurrection meant the possibility of transformation – both personally and for the world. A transformation based on love. These short thirteen letters of Paul dropped a depth charge of thought into the ancient world, whose effects are still being felt in the world. Can love really change the world? According to Jesus, and the greatest exponent of the meaning of his life, Paul – a resounding Yes!

Gary Davis eventually made has way to New York City, where his incredible skill and talent became appreciated and where he was eventually persuaded to perform more than just spiritual songs in the 1960s Though his faith was still intact, the good Reverend clearly struggled with alcohol and was known to be pretty foul-mouthed and angry at times. As Bob Dylan observed in Solid Rock,

“It’s the ways of the flesh to war against the spirit
Twenty-four hours a day, you can feel it and you can hear it”

He was reflecting, of course, St Paul’s letter to the Romans, where he talks about doing the things he doesn’t want to do and not doing what he knows he ought to do. We’ve all been there. The good news, is that a great change is possible. A life empowered by the Spirit of Jesus “is life and peace.” The secret is, in Gary Davis’s words, to “surrender and give up. Give up entirely.”

Check out Ian Zack’s excellent biography on Davis here.

 

 

 

 

Ella’s Secret of Christmas

Document Records, an independent record label that specializes in reissuing vintage blues and jazz, has a great set of five Christmas Blues albums, which feature a host of well-known artists from yesteryear, like Victoria Spivey, Leadbelly, B.B. King, John Lee Hooker and Freddy King, and many more you’ll likely have never heard of. Volume 1 alone has a massive 52 tracks, so it’s great value.

In this disk, we get fun songs like the delightful Bring That Cadillac Back by Harry Crafton with the Doc Bagby Orchestra, where Harry’s Christmas is ruined by his girl eating his turkey and running off with his Cadillac.

There’s some terrific blues, like Chuck Berry’s Merry Christmas Baby on Disk 2 and Victoria Spivey’s naughty I Ain’t Gonna Let You See My Santa Claus (Volume 3), and of course, we get Robert Johnson’s Hellhound on My Trail, with its mention of Christmas Eve and Christmas Day.

There’s a fair sprinkling of Christmas gospel along the way, including some interesting preaching. Like the 1918 sermon of Rev A.W. Nix, which he preached during the Spanish ‘flu pandemic, addressing the fact that many in his congregation were broke. He cautioned his flock not to spend money they didn’t have. Pretty good advice, don’t you think? Reminds me of Mr Micawber in Charles Dickens’s David Copperfield, who famously observed, “Annual income twenty pounds, annual expenditure nineteen, nineteen and six, result happiness. Annual income twenty pounds, annual expenditure twenty pounds ought and six, result misery.”

Rev. Nix goes on to tell his flock that rather than go broke splashing out at Christmas, they needed to “spend your Christmas praising God and giving him thanks for what he’s already done for you this year.”

Being thankful maybe seems a tall order after 2020. So many lives lost all over the world to the pandemic, with the resultant economic fallout, domestic violence on the rise and isolation and restrictions causing no end of misery. And, in the developing world, hunger and poverty on the increase, along with sex trafficking and early marriage of girls.

But Nix was preaching to people in as bad a situation or worse in 1918. The influenza pandemic affected a third the population of the world, killed up to 50 million, and came in four waves, lasting until 1920. He’s on to something when he talks about thankfulness.

Modern psychology tells us that if we can find something to be grateful for, it improves our self-esteem, increases our energy, helps our immune system, increases our sleep quality, and enables us to cope better with stress. So being thankful, even in the midst of trouble, can be incredibly powerful.

Christmas, of course, gives us something particularly to be thankful for, in the gift of the child in the manager. The Christmas message is one of hope in the midst of fear and distress, because of this incredible event of “God with us.” God come to share in our humanity, our distress, our joys, our sorrows.

The traditional song Go Tell It On the Mountain captures the celebration and thanksgiving for what happened on that first Christmas. The Document Record collection includes the Famous Jubilee Singers’ version, but I rather like the Blind Boys of Alabama’s take on this.

Volume 3 of Document Record’s collection fittingly closes with Ella Fitzgerald’s The Secret of Christmas. Forget the warm glow you feel, the sleigh bells, the children singing and the presents. For Ella, the secret of Christmas

Is not the things you do
At Christmas time, but the Christmas things you do
All year through.

Preach it, sister.

Catch our interview with Document Record’s Gary Atkinson here.

Document Records Blues, Blues Christmas, Volumes 1-5

Music Books for Your Christmas List

Christmas is coming, and if you’re a music fan, you’ll want to drop a few hints to Santa. Here are seven books you’ll definitely want in your stocking:

Michael Corcoran, Ghost Notes: Pioneering Spirits of Texas Music

What a sumptuous feast of a book this is. Coffee table sized, lavishly illustrated, and utterly engaging, it oozes quality from the standard of the writing to the beautiful quality of paper. With Corcoran’s engaging stories highlighting the careers and contributions of a wide variety of pioneering Texas musicians, you begin to realize how important and formative Texas is for American music. Top of your Christmas list. Read our review. Buy it here.

 

Annye C. Anderson, Brother Robert: Growing Up with Robert Johnson

Memories of Robert Johnson from Annye Anderson, Johnson’s almost sister, which introduce us to the Robert Johnson we never knew. A wonderful evocation of a time and place. For any music fan, and particularly if you’re a blues fan, this book is a must-read.

Read our review here.

Buy it here.

 

Adam Gussow, Whose Blues? Facing Up to Race and the Future of Music

Blues harp master and professor of the blues, Gussow, asks an important question of every blues fan – who do the blues belong to? Expertly and sensitively written by a man who has spent his musical career learning from and playing with black musicians.

Read our interview with Adam Gussow here.

Buy it here.

 

Ian Zack, Odetta: A Life in Music and Protest.

Ian Zack’s biography of Odetta is masterful, as he charts the life of this seminal cultural figure who helped spark the folk revival and became a vital part of the protest movements of the 1950s and 60s. She was on the front line of the struggle for equality in America, combatting racism through her music and actions. An important book and a great read. Full review to come.

Check out also Ian Zack’s excellent biography of Rev. Gary Davis, Say No to the Devil. Here’s our review.

 

Freeman Vines, Hanging Tree Guitars

Freeman Vines, born in 1942 in Greene County in North Carolina is the focus of a quite remarkable book, written by Zoe Van Buren and featuring a stunning set of photographs of Vines, his guitars and his environment by Timothy Duffy. The focus of the book is on one particular aspect of Vines’s life – his crafting of guitars from a tree near where he lived that had been used for lynching. Don’t miss the companion music album. Read our interview with Freeman Vines. Buy it here.

Gary Golio & E.B. Lewis, Dark Was the Night: Blind Willie Johnson’s Journey to the Stars

Another beautifully illustrated book (by E.B. Lewis), and cleverly written by Golio, guaranteed to engage the interest of small children. That’s no small feat, given the harshness of Willie Johnson’s life, a man blinded as a child, who lived in poverty and died penniless in the ruins of his burnt-down home. For parents who’d like their children to encounter something of America’s musical heritage, this, really is a must-buy. Highly recommended. Read our review. Buy it here.

Gary W Burnett, The Gospel According to the Blues

It’s been out for a while, but no matter – it’s mine and I’m gonna recommend it! “The Gospel According to the Blues is at once a primer in American music, culture, and race and religious history. Gary Burnett moves deftly from lyrics to theory and back again, from Blind Lemon Jefferson to the insights of contemporary scholarship. Highly readable, thoroughly researched, and with deep respect for the art form on every page. For best results, read with scratchy vinyl recordings of the masters as accompaniment.” An interview with the author and more details here.

Buy it here.

Vika & Linda – bringing some joy to iso(lation)

Vika and Linda Bull are two roots artists that may not have come across your radar. You ought to remedy that straight away! They are two sisters, based in Melbourne, who have been singing, harmonizing and rocking for many years, delighting audiences in their Australian homeland. Along the way, they’ve supported the likes of Billy Joel and have performed with Iggy Pop. The sisters are members of Paul Kelly’s band – Kelly is a hugely successful Australian rock music singer-songwriter and guitarist, whom a Rolling Stone writer claimed to be “one of the finest songwriters I have ever heard.”

Vika and Linda released a new album this year, called Sunday (The Gospel According to Iso, a fabulous album of rootsy, bluesy gospel songs and we got chatting to Linda about it.

But first of all, because a lot of people in the US and Europe may not be familiar with Vika and Linda, despite their success in Australia, I asked Linda how she would characterize their music?

“Well,” she said, “we’re very hard to pigeonhole. We love harmonizing together and singing together and we cover a lot of different genres. We don’t like being pigeonholed. But I think it’s basically roots music is where our heart is – and harmony. Vika and I have got very different tastes, Vika is more rock and I’m a bit more country. And in between we can cover blues, soul, R&B and gospel. And we love to do that. We love to just sing together – regardless of the genre, we just love singing together.”

Turning to the new album, I wondered what “iso” means. Turns out it’s Australian slang for “isolation.” Linda told me:

“Because we made the album in isolation in the first phase of lock-down in Melbourne, not knowing then that we would have two. The background of the record is that we’ve been singing gospel music for probably about 35 years now.” She and Vika have made a few gospel-tinged recordings along the way, but “this one in its entirety is kind of the next step. We had restrictions with lock-down, so we made it minimally. And I think gospel music actually works really well like that. It works really well when you have very few instruments.”

The album is something of a gem, really pared back, largely featuring the wonderful harmonizing of the two sisters, and backed mostly by piano with those lovely sort of gospel chords that you get with the piano.

“We have piano all over it, in every track, and our musical director, Cameron Bruce, is a beautiful piano player. We’ve worked with him in Paul Kelly’s band, and he took charge of everything with us, helped to select the songs with a lot of zoom meetings. Cameron arranged the songs and then sent them back to us as files and we sang over the top.”

The Gospel According to Iso has 13 gospel songs (with a bit of latitude, we’ll count Simon & Garfunkel’s Bridge Over Troubled Water and Chuck Berry’s Downbound Train as gospel!), mostly old traditional songs or spirituals like Sinnerman, Walk With Me Lord and Jesus on the Mainline. The album kicks off with a rockin’ version of Claude Ely’s Ain’t No Grave Gonna Hold My Body Down, and once you hear these two sisters harmonizing, and the bluesy vocals, you know this is an album you want to hear. The high quality is sustained throughout, and even though the arrangements are relatively sparse, there’s a nice variety to the way each of the songs is handled.

The album, Linda told me, all sprang from a weekly Sunday sing-song that she and Vika started to do when everything stopped in Australia early in the year. “I went out on Facebook and Instagram live every Sunday morning at 11:00am and we did one gospel song. That grew in popularity to the point where we thought we could make a record. We’d just ring a friend, they played guitar, we’d sing over the top, and we thought we could make a record like that.”

Why, I wondered, did they choose this particular selection of songs?

“We had lots of gospel songs in our back catalogue that we’ve been singing over the years, but we wanted to do something new. So I dug into the gospel collection that I had amassed over the years and we had about 70 songs from all different sources. Then we whittled it down and the focus was mainly just to do something that meant something to us and bring a bit of joy because it was pretty sort of sad over here – and everywhere.

“But we wanted also songs that people knew. So we have Bridge Over Troubled Water and Amazing Grace. But then there are other songs that we thought, we’ll just throw those into the pot because we love singing them – songs by Mahalia Jackson and so on. That’s how it came together.”

It’s a great selection of songs, but I particularly like Rosetta Tharpe’s Strange Things Happening Every Day. It’s got a very distinctive Rosetta Tharpe feel about it, with both the piano and guitar work echoing her original version. Linda said she liked Rosetta’s “rock and roll attitude. That’s kind of right up our alley.”

The other song I asked about was Elder Curry’s Memphis Flu. Curry was a singing preacher and guitar player who preached fiery sermons through his songs, backed by the barrelhouse piano of Elder Beck, and featured the stomping feet and clapped hands of his congregation. Recorded in 1930 for Okeh Records, Memphis Flu refers to the flu’ season of 1929 which was the worst since the 1919 pandemic. Death rates were very high, particularly in the Memphis region. The song is often thought of as the first rock’n’roll record and the original is a toe-tapping rocker all right. But Curry’s lyrics are pretty harsh. For Curry influenza was a manifestation of God’s wrath at sinners and there was little compassion for the large numbers of people who’d died as a result of the flu’.

Linda said that when she stumbled across the song, she thought how perfect it was for the current situation – but “the lyrics were very direct. So we tweaked them a bit in the choruses. It’s a gospel song of course, but you’re not going to die if you don’t go to church! But we thought the song was perfect for record. We weren’t sure whether people would love it or hate it!”

Actually, you can’t help but love Vika and Linda’s version, driven by a rollicking barrelhouse piano. The amended version of the song is well-chosen, actually, so timely, and with a great message talking about the epidemic getting the rich and the poor alike, and saying that it’s going to get a whole more if you don’t listen up and behave. Wear your masks people!

I asked Linda if there’d been any sort of pushback against science and wearing masks in Australia?

“There was a bit of a pushback. Yes, there were marches and demonstrations and anti-mask-wearing demonstrations, but all in all, you know, in the middle of all this, there was a black lives matter movement, and people were very observant of wearing a mask and they still went out and protested, so people in general were pretty good. No one loves wearing a mask or being told what to do – I get it, you know, but the result was good.”

Talking about black lives matter, the spectre of racism is something that we’re all increasingly aware of these days. What, I asked Linda, has been her experience in Australia, with her Tongan background?

“Well, yes, we have dark skin. So obviously we look different. So we have experienced a certain amount of racism, but nothing like our mother experienced.” The sisters’ mother came to Australia during the White Australia Policy, which from 1901 basically sought to forbid or restrict people of non-European ethnic origin, especially Asians and Pacific Islanders, from immigrating to Australia. It was only legally disbanded in the mid-1970s.

The racism encountered by Linda and her sister has been “nowhere near as much as the previous generation. So it’s getting easier in some ways, but we feel very strongly about being treated equally, and why shouldn’t we? We are respectful, but we are direct, so I always say we stand up for ourselves.”

The sisters are half Tongan – Tonga is a Polynesian neighbour of Australia, and it’s a heritage they feel proud of.

“Polynesian culture is very strong in our family. And the way they sing – when they sing in church, time pretty much time stops, it’s so beautiful. That’s how we were raised. We were raised listening to the Tongans sing in church, and that’s where we get our voices from. Because they taught us, our mother taught us.”

From listening to Linda and Vika, I’d sure love to visit one of those Tongan churches.

“Everyone we take cries when they see the Tongans fire up…as soon as you walk into the church and they start singing and they get into it, how can you help but not be moved?”

The album finishes with a beautiful, unaccompanied Amazing Grace. The slow tempo and the pure quality of the voices make it an appropriately emotional end to the album. There’s something about this song that seems to appeal to almost everybody, so I asked Linda what she thought it is about gospel music that has such a wide appeal even to people of no faith?

“I think that it’s uplifting and it’s one of those sort of genres that you can lean on when feeling a bit down, or when you could do with an uplift. It lends itself naturally to that sort of universal feeling. You know, we all want to live a little bit better sometimes. Although we grew up in a church and had a very religious upbringing, we think this music is for everybody. And I think that we love singing it because for us, it’s a release. I think it’s ultimately our aim with a gospel record to make people feel better, whether they believe or not.”

Sadly, with the restrictions still in place because of the pandemic, the Bull sisters haven’t been able to go out and play on the road. But, Linda told me, they can’t wait to sing these songs to a live audience. Hearing these two sing these songs live is going to be some experience. I just hope I get the opportunity to hear them.