My Lifetime Now continues in the same direction as A Time Of Peace. Once again the approach is straightforward and hands-off, mostly gentle songs that focus on Marj and her guitar. Occasional instrumental backing gives a soft jazz angle here, a carefree country moment there. Emotions range from pain and agony in ‘I’m Dyin’ to the mournful tone of the hippie ballad ‘High On The Love Of Jesus’, the latter with guitar and vocal assistance from John Fischer. Fischer also provides additional guitar on ‘Lord Of Glory’. Conga backing adds depth to ‘Walk By My Window’, ‘So Much More’ and the title track. Four backup vocalists assist for a simple version of ‘For Those Tears I Died’. With a nod to Judy Collins, she closes the lp with an a cappella rendition of ‘Amazing Grace’. Two covers exist: one with a photo on Marj on the back, the other with lyrics.

I can’t imagine anyone not liking the simple music of this obviously gifted folksinger, one who’s fondly remembered from the early days. Her debut album (recorded when she was only seventeen and a junior at San Lorenzo High School in Felton, California) is primarily dreamy soft-sung lyrics over tranquil guitar. What’s immediately striking is how captivating her voice is - how it carries you right up into the clouds. A Time Of Peace includes five of her own songs, as well as covers of John Fischer (‘Look All Around You’, ‘Road Of Life’), Ray Repp (‘I Am The Resurrection’) and Jim Strathdee (‘I Am The Light’). Also haunting renditions of ‘I Saw A Man’ (backed by piano) and ‘They’ll Know We Are Christians’ (with distant background organ). Mostly quiet-natured songs, although drums, bass and a beat show up on ‘For Norman’. A few additional voices join in for a homey folk sing-along of ‘He’s Everything To Me’ that closes the album.

If you enjoy the endearing country folkrock sounds of the first album by The Way then Maskil’s custom lp should provide a similar treat. Quiet and melodic with plenty of shimmering acoustic guitar interplay, soft electric backing/leads and wholesome rural harmonies. Four of the five guys play guitar, with a viola joining in on a couple occasions. Three different songwriters among them, contributing titles like ‘Odds & Ends’, ‘Return To Jesus’, ‘Resurrection Life’, ‘All That You Need’, nine in all. ‘All That Glitters’ is especially strong, floating along dreamily with gentle trippy electric guitar for a subtle west-coast psych edge. Similar effect on the minor-key ‘Ballad Of The Blind Man’ which has a good amount of soloing. A musical outreach of Inn Of The Last Resort, Franklin, NC. Real nice cover, too. Could easily get hyped (and deservedly so I’d say).

Another choice entry from Mike’s post-Exkursions, pre-ccm era with wife Karen adding lovely vocals. Has the same mix of jazzy electric frills, folkrocking, acoustic tunes, and subterranean rock that characterized Lord Doctor and Velvet Prince. ‘City!’ is fast and loud loud loud! A couple weird ones: the lazy buzzed-hippie hand-clapping title track and ‘I’m High’ performed live with just guitar and slurred vocals that make it sound like he really was high (though it’s actually an anti-drug song with references to getting “high on Jesus”).

Superior moody prog-laced British folk outfit masterminded by Society Of Jesus members Tom McGuiness and Jim Crampsey. Often similar to the dreamy ballad style of groups like 11:59 and Cloud while also revealing a gentle folkrock edge not unlike Water Into Wine Band. Very peaceful, hushed, somewhat melancholy tone, surreal and motionless at times. Some achingly beautiful melodies aglow with fragile atmospheric male/female harmonies. Plenty of electric guitar with some excellent soloing, even some fuzz on the title track and ‘The Road To Emmaus’ where it crescendos to one of the albums heavier moments. I especially liked the Jerry Garcia-ish lead guitar on the magical ‘Giver Of Life’. Other titles include ‘Ask The Father’, ‘Light’, ‘Bidding Prayers’, ‘The Best Gift’, ‘Holy One’, ‘Lamb Of God’, ‘Communion Song’, ‘We Thank You Father’, ‘Blind Man’, and ‘Pentecost’. Being a private press from England it understandably goes for some fairly big bucks. Comes with a booklet that includes lyrics, chords and commentary on each of the songs. See also Beyond An Empty Dream.

Superb understated folkrock recording from soft-voiced British singer/songwriter. Graham’s songs often coast along to a fast-tempo strum, sometimes accompanied by harmonica (‘The Road Is Hard’, ‘He’s The Way’), other times with fluid electric guitar leads (‘Robert’, ‘What You Did For My Brothers’, ‘You Are The Body Of Christ’ and the rock-and-roller ‘I Look To The Cross’). Some beautiful slower acoustic tracks as well, like ‘God Has Left The Valley’, ‘Where Is Your Faith’, ‘The Waters Of Shiloah’ and ‘But Then I Stood Back’. Light distant behind-the-scenes keyboard activity (synthesizer, organ, piano) and femme backing vocal, along with acoustic guitar, bass and drums. Cool subtle effects on the electric guitars, a couple times with a mild Dire Straits quality. Along with John Wilson’s In The Land Of Brick And Mortar, this is one of the most enjoyable albums on this small UK Christian label.

He sounds a lot like James Taylor so chances are if you enjoy simple easy acoustic expressions like ‘Fire And Rain’ and ‘You’ve Got A Friend’ then you’ll probably dig Jim Cole’s songs, too. Complete In Him features Jim on acoustic guitar, assisted by others on bass, piano, Fender Rhodes, drums and additional guitars. The title song, ‘Broken Hearts, Broken Dreams’ and ‘Goodbye Grey Days’ are all dead-on for Taylor’s relaxed acoustic style. A couple satisfying country rockers on here with worthy electric leads (‘Name His Name’, ‘The Messiah’), as well as some nice acoustic rock (‘It’s Jesus’) and moody rural The Way-styled ballads (‘Give Your Life To Jesus’, ‘Your Invitation’). Exists in both a 10-song and a 12-song version. You’ll definitely want the 12-song version since there are two additional hard-rocking tracks (‘Time Is Surely Running’ and the slow blues rocker ‘New Man Time’), both of which deliver some first-rate guitar leads. Custom record from Lebanon, Ohio, with b&w cover photo of Jim playing guitar.

“Some young carpenter has risen, they say, there’s hope today.” On this album Miffleton and crew tossed in electric rhythm and lead guitar along with organ for a heavier irresistible ‘60s “beat-rock-folk-pop” sound that is downright swingin’! Some would even call it “psych”, especially with unusual breaks like ‘Revolutionary Peace’, an anti-war poem recited over guitar, machine gun fire and air raid sirens, dishing out phrases like “dialectical impossibilities, synthetical antitheses, democratic bigotry”. Definitely their most electric recording: ‘Bring On’, ‘I Trust In You’ and ‘Glory To God’ all groove along to a rocking beat, while ‘God Made The World’ and the title track take the brisk plugged-in jingle-jangle route. Softer moods are contained within ballads like ‘You Are My Son’, ‘Hey Joe’ and the somber ‘Flies The Dove’. Features thirteen of Miffleton’s songs. Front cover says “sung by The Group with Skipp Sanders”. By far my favorite from these talented folks.

One of the most wholesome spirited folk outfits to reach these ears, one whose albums have the sixties written all over them. Although the artist name is listed as Jack Miffleton (composer of the songs), this is really a group effort. They do a splendid job putting their own unique stamp on the Catholic sound: up-tempo pure folk with a big beat; melancholy acoustic ballads rich in emotion; gently swaying numbers with hypnotic percussion. Participants include singers Skipp Sanders, Nancy Barnes and Dennis Cooney, Jack on guitar, plus others on bass, drums, banjo, percussion and additional guitar. The vocalists are all good, their harmonies filled with feeling and creatively expressed, while the instrumental backing remains simple yet solid and lively. Back cover describes the songs as “foot-tapping” (‘I’m Ready To Follow’), “quiet ebb and flow” (‘The Wind Blows’), “poignant” (‘Cry Alice’) and “rhythmic” (‘Alle Alle’). An irresistible rocking drumbeat is laid down on ‘I Am The Bread’. Opens with ‘Well, It’s A New Day’, one of Jack’s best known songs. Most of these folks (including Jack) also appear on The Group’s No Time Like The Present which has a more or less identical sound.

Away back in 1969 celebrated singer, guitarist, songwriter, author, and all-around insightful human being John Fischer not only had hair on his head, but also a completely different sound. To quote the back cover, Fischer’s record is “hard, driving beat, cool reflective guitar and flute, pop sound reminiscent of the ‘20s that is almost ‘camp’, western idiom, and dramatic tone pictures which themselves comment on the text.” It’s a far cry from his more polished Light albums on which you’ll find nothing near the go-go organ pop/beat of ‘Got To Shout About It’. Features twelve of John’s songs, some of the other titles being ‘The Road Of Life’, ‘See The Lilies’, ‘Born To Die’, ‘Look All Around You’ and the convicting ‘Death In The City’, the latter a mysterious haunting ballad. John’s vocals are immediately likable - soft, fragile and sincere on the ballads, relaxed and easygoing on the more upbeat numbers. The music has a good natural vibe featuring a low-key yet proficient arrangement of acoustic guitars, piano, flute, beat-ful rhythm section and simple female bgvs (no strings or horns in the picture). A bit harder to find, too, having been released on a small mostly-Catholic label, but seek it out - it’s a folk/pop masterpiece!

A meditative album of acoustic Christmas songs. Classical guitarist John Pell’s arrangements highlight such instruments as harp, flute, recorder, cello and woodwinds for a soothing European classical-folk mood. Includes ‘Silent Night’ in German, ‘What Child Is This’, ‘I Wonder As I Wander’ and ‘Cherry Tree Carol’ among others. I personally prefer this kind of thing to Amy Grant singing about chestnuts going pop pop pop.

Finally – a Christian blues-rock record with some muscle. Although not as meaty as Stevie Ray Vaughan or John Mayall & the Bluesbreakers, these California boys make a pretty good go of it with their tough hard-hitting style. Triple rocking guitar action courtesy of John Fowler, Randy Rigby and Mike Matthews, with Michael Aguilar on bass and Johnnie “Boom Boom” Graves on the back-beat. Fowler is the lead vocalist and also blows a mean harmonica. The live setting works perfectly here – I enjoyed the little things, like John saying he’s gotta take his jacket off cuz he’s burnin’ up, or when he runs through the band members’ names and their instruments in the middle of a song. The slow-burner ‘B. C. Blues’ kicks things off, followed by the fast-paced ‘You Only Go ‘Round Once’. Next Fowler’s harmonica gets a decent workout on ‘Fifty-First Street Blues’. ‘Lookin’ Back’ opens side two with a forceful swinging mid-tempo jam. The mood shifts for the 6:43 ‘Faithful’, a Springsteen-esque heartland power ballad with saxophone. ‘Liar’ closes the set, burnin’ away in Southern boogie fashion. Only 26 minutes of music since this is an EP, but what’s there is solid. It’s also a rare example of 10-inch vinyl, housed in a 10-inch cover (you can store it next to your Horrendous Disc EP). The second release on this label, following the Born To Die project (see entry). Wish we could have heard more from these guys.

Somewhere beyond the extreme fringes of Christian music lies the creative genius of John Rydgren. Did I say music? More accurately Silhouette Segments would fall into the spoken word category alongside works by Stewart Henderson and Pat Berkery. Stylistically the planet’s closest ally would be hip “word-jazz” artist Ken Nordine, though Rydgren’s vignettes clearly exist in a world of their own, unlike anything you’ve ever heard before. Pastor John Rydgren was director of TV/Radio/Films for the American Lutheran Church. This double album (housed in a wildly psychedelic gatefold cover, complete with mod mini-skirted femme on the back) features material from his radio show Silhouette. Tall, thin, spectacled, short hair, receding hairline, coat and tie - it’s hard to believe that stuff this wild could possibly emanate from this gentleman. Titles include ‘Personality Doll Of The Week’, ‘Hippie Version Of The 23rd Psalm’, ‘Rinky Dink’, ‘Search It Out’, ‘Transistor Father’. Thirty-one segments in all, ranging from the four-minute ‘Dark Side Of The Flower’ (a poem over sitar music describing the disappointments of hippiedom) down to the twelve one-minute titles that comprise side four. Particularly striking is Rydgren’s otherworldly voice - incredibly slick, velvety, deep, hovering a mere fraction of a tone above Lurch. Equally important is the background music, culled from instrumental artists of the time such as Bob Crewe, The Brass Ring, The Tijuana Brass, The Electric Prunes, Cannonball Adderley, plus numerous snatches of unidentified incidental easy listening, psychedelic rock, crime jazz, lounge pop, and whatnot. The language is wonderfully dated, groovin’, happenin’, touching on topics like hippies, war, poverty, Christmas, the church, parents, even girl watching! Remarkable depth here including poetry, humorous skits, fake commercials, sound collages, interviews. ‘The Happening’ even melds pieces of conversations with artists like The Association, Paul Revere, Peaches and Herb, 4 Tops, asking their opinions on the state of spirituality among youth. On the inside cover there’s a picture of him interviewing Peter Tork of The Monkees, but that segment apparently didn’t make it on the vinyl (bummer). Rydgren’s spiritual commentary is ever present in the grooves as well as in the liner notes, offering the hope of Christ in a fashion that is neither heavy-handed nor trite, but compassionate and creative. A single-disc “re-issue” appeared in the late ‘90s. Refreshingly unique and inspirational through and through!

"This unique collection is a befitting tribute to Elvis Presley's 3 x Grammy Award-winning gospel and inspirational work. Discs 1 through 3 feature his entire non-secular studio masters in chronological order. Disc 4 covers the additional masters made for Elvis' movies, his comeback TV special in 1968, and recordings made live on stage. Disc 4 also includes two segments of Elvis singing religious songs in a more informal setting. The first segment includes Elvis with J.D. Sumner and The Stamps relaxing at the end of a long day at RCA's Hollywood studio on March 31, 1972. The final three recordings were done at his Los Angeles home in 1966, in preparation for the album HOW GREAT THOU ART. This four discs set is remastered from the original tapes using the latest DSD technology for optimum sound quality. As with his secular music, Elvis invented his own version of gospel, drawing from every element of his vast musical knowledge - without any musical prejudice or racial barriers. I BELIEVE - THE GOSPEL MASTERS offers the most comprehensive overview of Elvis' non-secular performances and provides testament to Elvis's musical excellence and his contribution to the popularization of religious music." - Amazon.

Жанр: Gospel , Rock'n Roll
Исполнитель: Elvis Presley
Альбом: I Believe: The Gospel Masters
Кол-ство треков: 68
Формат: MP3
Качество: VBR /127 Kbps
Размер файла: 170MB
Выпуск: 2009

Another superb collection of original songs that continue to spotlight Owens’ soothing vocals and sparkling guitar work while also successfully adding some hard-edged rock to his palette. Crystal clear production from Steve Millikan, who also adds keyboards (piano, arp, fender rhodes), while Fred Plassman contributes bass, fender strat and Les Paul. ‘You Have Been’, ‘For All These Things’ and ‘He Is Calling’ are all solid electric tracks, while the ballads ‘I Have Yet To See’ and the title track possess a stirring delicate beauty. Smooth soft-jazz groove for ‘I Will Bless The Lord’. The Keaggy resemblance is striking, yet it never sounds copycat. Inspired yes, but not ripped off. All of Jon’s albums are good, but this one I believe is his best.

Carry Me Home may be quieter overall than Father Songs, but it still most definitely has that edge. Good artsy folkrock sound sometimes within a dreamy atmosphere. Moody male/female vocals and attractive mix of acoustic/electric guitars, organ and flute. Includes some mellow Parable-type ballads with electric piano. My favorite song is the hypnotic ‘Wonders’ coasting along to a trippy ethereal rhythm with a nice organ solo stretch reminiscent of Caravan. ‘Stoop Down’ has a catchy upbeat melody alongside its chorus of “Stoop down, tie up your brother’s bootlace”. Beautiful flute accompaniment and acoustic reverie to ‘Lullaby’. Striking cover shows a giant suspended-in-space see-through suitcase containing a portion of an earth landscape.

Keith Howard’s admirable rock/folkrock custom seems to have a much more down-to-earth quality than the typical UK male solo lps found on labels like Dovetail, Grapevine, Myrrh, etc. That’s because Looking For You sticks with basic rock instrumentation (acoustic and electric guitars, piano, bass, drums, occasional synthesizer) while avoiding ccm tendencies. Keith was a member of The Advocates, who had two fine albums on Dovetail in the mid ‘70s. Actually most of his old band is in here helping out, though the end result doesn’t really sound like The Advocates. This is folkier and more homemade, with no organ or polished harmonies. Definite British feel though. All Keith-written originals like ‘Planter Of Seeds’, ‘Ever Seen A Grown Man Cry?’, ‘Coming Again’, ‘The Prisoner’ and ‘Eskimo’, the latter a convicting song about the negative effects of forcing cultural changes on the newly converted. My favorite chorus: “somethin’s goin’ on in the space between my ears”. Same miniscule UK label as Driver’s You Better Take It. 500 pressed.

A Love Song continues to present challenging music while drawing from Biblical material for its twelve songs, all united on varied aspects of the topic of love. ‘Noise Of Solemn Assemblies’ and ‘Joseph’ are classic examples of psychedelia dripping with acid organ, while ‘Palm Sunday’ has a more dream-like quality, Amanda’s flute work softly poised above spacey atmospheric guitar harmonics. ‘A Matter Of Sobriety’ pulls a Procol Harum maneuver with its classical cathedral organ and harpsichord accompaniment. Nods to the ‘60s sounds of Dave Brubeck and Ramsey Lewis can be found on ‘Pharoah’s Adopted Grandson Moses’ and ‘The Camel Swallowers’. Closes with a high-energy Johnny Rivers-styled rocker ‘The Man For Me’. Several top-notch musicians were enlisted, including jazz keyboardist Dick Hyman and guitarist Jay Berliner. Such uniqueness in lyric and composition (not to mention the professional sound) is rare in the Christian community, so if you get the opportunity, by all means experience John’s music. It’s extraordinarily groovy! A Swedish 1994 re-issue collected the edgier tracks from both Cool Livin’ and A Love Song, packaging them with the cover/title from A Love Song. See also Praise The Lord In Many Voices Part I, Happenings At The Gathering and Songs For Today.

No, it’s not me but a British acoustic singer/songwriter that just happens to share my name - so don’t accuse me of patting my own back when I recommend this album. Like early Mark Heard, Dennis Ryder, Dave Mattson and the like, Ken’s another one of those simple and gentle folksingers whose music is warm and appealing. String quartet backs the sorrowful ‘Surrender’ while soft organ accompanies the title track (a poem written to his daughter). Bass and drums build some folkrock edges around ‘Do You Want To Know’ and ‘How Can You Prove’. For purely acoustic moods, check out ‘Don’t Be Wise’ and the delicate ballad ‘As I’m Singing To You’. One instance of brass, one of steel guitar (the country folk ‘I’ve Tried’), plus some touches of organ, bongos and electric guitar in spots, but the focus is primarily Ken and his acoustic guitar in Appalachian Melody fashion. Fine album, beautiful cover, collectible label. Nice name, too.

Cutting edge Australian Jesus rock obscurity released on a custom branch of EMI records. Nice earthy homemade arrangements that don’t sound particularly Australian (not that I’d know what that is if I heard it) – more like the best of the US and UK homegrown hippie-angled endeavors. The five semi-longhaired guys and one girl of Kindekrist alternate male and female lead vocals while encompassing a variety of styles. The raw harmonica-wailing ‘Father’s Blues’ and the slow acoustic ‘Father Of The Evening’ both fit into the blues rock category. The minor-key Celtic-sounding ‘All At Sea’ and the a cappella madrigal ‘Come All You Good People’ each have a very distinctive British flavor more akin to groups like Parchment. While acoustic instrumentation is usually favored over electric, there also happens to be some good wah-wah guitar coupled with organ and harpsichord on the psych-edged ‘Follow’ and ‘Watch Out For The Wolf’ (the latter of which features some fun howwwwwwwling vocals). Filling in the remainder of the fourteen songs are some effective samplings of folkrock, soft rock, ragtime and acoustic ballads. Excellent!