Holiday Music | Other Country Styles

Bad Livers "Dust On The Bible" (Quarterstick Records, 1994)
These early kitchen table sessions from alt-country bluegrassers offer disappointing readings of many great old gospel tunes; what's so great about bluegrass gospel music is the heartfelt passion and searching, earnest feel of the singers... By contrast, the Livers lazily lope their way through through classics such as "I Saw The Light," "Working On A Building," "Gathering Flowers" and "I'm Using My Bible For A Roadmap" and seem to expect to score points just for showing up and knowing all the words to the songs... I suppose these too-cool renditions could be hailed as radically new reinterpretations of these peppy old standards, but I'm mostly struck by how lackadaisical and tongue-in-cheek they seem... (To be honest, they kind of sound like the Grateful Dead, except that the Dead connect with this sort of material in a more sincere fashion...) I guess I'm a stickler for tradition, but if ya don't really mean it, why sing it? I'll take some old Carl Story or Bill Monroe tunes over this stuff any day.

Wendy Bagwell & The Sunlighters "Faith Is The Ways" (Hilltop Records, 1968) (LP)
Great stuff... the perfect mix of true believer twang and shameless corn... Since this LP came out on Pickwick's Hilltop imprint, I assume it was a collection of reissue material, though I haven't been able to track down the original releases. Anyway, it's a great record, one of the trio's most satisfying sets that I've come across so far. Definitely worth a spin!

Wendy Bagwell "This, That And The Other" (Canaan Records, 1970) (LP)

Wendy Bagwell & The Sunlighters "The Old Cajer Bagwell Place" (Canaan Records, 1971-?) (LP)
Just one story, the title track, along with eleven pure, old-timey gospel tunes sung with a mix of modern country slickness and rapturously rural revival emotiveness. The vocal arrangements include both a full trio and harmony duets with the two gals, and even a little bit of Mr. Bagwell jumping in to add a recitation, most notably on the reactionary novelty number "Too Many Books," a Bailes Brothers oldie wherein they complain about all those modern-day novels and whatnot overshadowing the Bible. On occasion the gals drift into stuffier phrasing -- particularly on the lugubrious, folk-influenced "Young Man Dying" -- but for the most part they are still holding the line, keeping the old-school gospel sound alive. Alas, no info on the studio musicians, who provide solid, professional, no-muss backing, with a reasonable amount of twang.

Wendy Bagwell & The Sunlighters "You Won't Believe This But It's A Fact With My Hand Up!" (Canaan Records, 1972-?) (LP)
(Produced by Leroy Duncan & Marvin Norcross)
This live album, recorded at the Langdale Auditorium in Valley, Arkansas, gives a pretty good idea of the mix of humor and sentiment in the Sunlighters' live shows, with Wendy Bagwell riffing through his comedic bits, then introducing the next song, which invariably is delivered in a haunting and strikingly old-fashioned style. Here the vibe is sort of a spookier version of the Carter Family, with a resolutely antique, backwoods vibe that's downright surprising, and good. The choice to add a lone electric guitar gives the show a kind of hillbilly Staples Singers feel -- all the more fascinating since they pursued a slicker sound in the studio. I've always instinctively avoided Bagwell's spoken word routines since I'm generally averse to corny cornpone comedy, but it turns out he had a pretty solid routine, including self-referential bits that build on his older work. Here, he goes off on the fallout of the runaway success of "Here Come The Rattlesnakes," a million-selling 1970 hit that made light of snake-handling, faith-healing sects, first addressing folks from the groups who felt slighted by the story, and then teasing the record executives who were supposedly caught flat-footed by Bagwell having a hit on his hands. All in all, it's a pretty engaging performance

Wendy Bagwell & The Sunlighters "I Had A Vision" (Canaan Records, 1972) (LP)

Wendy Bagwell & The Sunlighters "Live" (Word/Canaan Records, 1983) (LP)
(Produced by Joe Huffman)
An adequate live album, not as spooky or as ecstatic as some of their earlier work, but okay. This was recorded in concert at the Grand Opera House in Macon, Georgia, with a backing band that included Jan Buckner on piano and autoharp, Gary Chapman (steel guitar), Steve Fowler (bass), Lari Goss (piano), Joe Huffman (banjo and guitar), Mike Lorenz (banjo and guitar), and Russell Mauldin on drums. The music's a little slick, but still pretty rootsy. One album side is primarily music, the other features several Wendy Bagwell stories.

The Bailes Brothers "Oh So Many Years" (Bear Family Records, 2002)
West Virginia siblings Homer, Kyle, Walter, Johnnie Bailes followed in the path of many other "brother bands" such as the Monroe Brothers and the Blue Sky Boys, although the Bailes lads came to the game a little late, and hit their peak in the late 1940s, just as the brother act sound was giving way to larger, more aggressive bluegrass arrangements. Even with added musicians (these recordings from 1945-47 feature added guitar, bass and even a steel guitar), they sounded remarkably like the Blue Sky Boys (see below), so much so that they seem to lack an original style of their own. No matter, however: if you like the style to begin with, then these are grand recordings, fun of energy and life, tight harmonies and tremendous musical drive. Most of the material is religious, including fine gospel songs such as "Do You Expect A Reward From God" and "Has The Devil Got A Mortgage On Your Soul"... Mighty fine listening for fans of the old-timey sound!

David A. Baker "The Moving Of The Spirit" (DAB Records, 1981) (LP)
(Produced by Randy Ballard & Ray Owens)
A moderately twangy gospel offering which lapses into gooey Southern Gospel and contemporary Christian musical tropes, ala the 700 Club crowd. The more robust country numbers are enjoyable, but the goopy crooning is a drag. A resident of the Tulsa suburb of Jenks, Oklahoma, David A. Baker composed several of these songs, with originals including "I Know I Found A Way Home," "The Moving Of The Spirit," "Ride A Cloud Home," and "Sail Away With Jesus" (which coincidentally include some of the album's twangier tunes...) The backing band draws on local Oklahoma talent, including David A. Baker on piano and vocals, Rocky Gribble (guitar), Tim Miner (bass) and Steve Short (drums), with backing vocals by Linda Matheson, Carolyn McCoy, and Dale McCoy. Nothing earthshaking, to be sure, but there's an imperfection and amateurism around the edges that I enjoy, a hint of rural roots that helps take the edge off the cornier-sounding non-country stuff.

Penny Baker "God's Country" (Award Records, 1978) (LP)
In the early 1960s, "Texas Penny" Inman was on her way up in the country music world, having cut a single called "Cry Baby Heart" for the California-based Emmy Records label, and touring with Buck Owens just as his star was rising. According to an article reprinted on the back of this album, however, she found life in the alcohol and drug-fueled world of the honkytonks too draining, and finally realized that her love of music wasn't enough to sustain her. She got religion, got married, and moved up north to Tacoma, Washington where she renewed her country music career, this time as an evangelical Christian songwriter. Penny Baker recorded numerous albums, usually tucking a few of her own originals into the repertoire, and several of her songs were recorded by other gospel artists, such as gospel yodeler Buzz Goertzen. I think this was her first album.

Penny Baker "Country Roots" (Award Records, 1979) (LP)
(Produced by Biff Collie)
The liner notes on this album tell us that her father Franklin Inman was a yodeler, while her mother, Gladys, performed on the radio in Baytown, Texas, and that Penny joined them on the air while very young. Sadly, there's no info about the musicians backing her, though Biff Collie's name popping up as producer sure caught my eye!

Penny Baker "The Old Country Church" (Penny Baker Ministries, 19--?) (LP)
(Produced by Penny Baker & Gary Duckworth)
Baker sings and plays piano on a set once again rich in original gospel material. She's backed by a local band that includes Leroy Briggs (steel guitar), Charlie Lee (drums), Roy Martin (guitar), and Paul Richardson on bass and synthesizer.

The Baldknobbers "Hymn Time With The Baldnobbers" (American Artists Records, 19--?) (LP)
An all-gospel album from the Baldknobbers musical group, the house band at one of the earliest mom'n'pop musical "opry" shows in Branson, Missouri. The group recorded numerous souvenir albums, including a few all-gospel sets such as these.

The Baldknobbers "Great, Great Day" (American Artists Records, 19--?) (LP)
More gospel music...

The Baldknobbers "Old Time Gospel" (Ozark Sound Records, 1984-?) (LP)

Lenville Ball "The Lord Will Provide" (1975-?) (LP)
(Produced by Phil Burkhardt & Dan Burton)
A country gospel artist from West Liberty, Kentucky, guitar picker Lenville Ball was connected to the Renfro Valley Jamboree, joining the cast in late 1976. Mr. Ball was real country, and included plenty of twang on his records. Although billed as a bicentennial album, this appears to have been pressed in 1975... guess he was just thinking ahead! Several of the musicians on this album were fellow locals who worked with Ball on his other albums; on this disc he's joined by Dan Burton on piano, Dennis Herrell (bass), Chuck Rich (steel guitar) and Jerry Wilhelm on percussion.

Lenville Ball "The Best Of Lenville Ball: Country Style Gospel" (1976) (LP)
(Produced by Phil Burkhardt & Dan Burton)

Lenville Ball "Let's Have A Hallelujah Meeting" (1977) (LP)
(Produced by Phil Burkhardt & Dan Burton)

Lenville Ball "I Feel So Good/I Saw The Light" (1978-?) (LP)
(Produced by Phil Burkhardt & Dan Burton)
According to the liner notes, this was Mr. Ball's fourth album, with backing from Dennis Herrell (guitar), Billy Holmes (harmonica), Tim Short (drums), Gary Smith (lead guitar) and additional vocals by Brenda Poe and Adrian Preston. The title track, "I Feel So Good," was composed by Lenville Ball, while other numbers were written by Andre Crouch, Bill Gaither, Tom T. Hall, and Kris Kristofferson -- a pretty hip gospel set for the times.

Lenville Ball "Travelin' The Highway Home" (Lenmar Records, 1982) (LP)
(Produced by Phil Burkhardt & Dan Burton)

Moe Bandy "Gospel Favorites" (Intersound Records, 1995)

Moe Bandy "Watching Over You" (2001)

Moe Bandy "Gospel -- Songs My Mama Sang" (Sweetsong, 2008)

Ava Barber "All Time Gospel Favorites" (LP)

The Bar D Wranglers "I Believe" (Frontier Records, 19--?) (LP)
The Bar D Wranglers was a western "dude ranch" band started by a trio of friends, Jim Blanton (1912-2001), Cy Scarborough (1927-2020), and Buck Teeter (d. 2001), who had each been part of the Flying W and Flying X ensembles, and performed on several Flying W albums in the late 'Fifties and early 'Sixties. In 1966, they decided to go into business for themselves and bought a 50-acre parcel near Durango, Colorado setting up shop as the Bar D Ranch, creating their own "chuckwagon" entertainment enterprise, complete with a steakhouse, western music and souvenir shops. The Wranglers repertoire was a familiar mix of western oldies, folk tunes, country comedy, gospel and a smidge of more modern stuff as well. They recorded innumerable souvenir albums, some with distinct themes such as this set of western-themed gospel music. The five musicians are pictured on the back cover, but not identified by name; apparently fiddler Terry Morris (1956-1988) had joined the group, having joined in 1979. A championship fiddler originally from Texas, Morris who also recorded some old-time stringband stuff with his siblings, performing as The Brothers Morris; his brother Dale Morris was also a fiddler, who in the early '80s landed a gig with the Sons Of The Pioneers.

Ava Barber "All Time Gospel Favorites" (ABGF Records, 19--?) (LP)
In the early 1970s, Tennessee-born Ava Barber became a cast member of the Lawrence Welk TV show, adding a little country twang to Welk's more sedate pop offerings... This gave her a built-in audience when she began to record for Welk's Ranwood label, and she enjoyed modest chart success from 1977-81. Like a lot of country stars of the era, she also released some gospel material... Not sure when this album came out (or when it was recorded) but it's packed with standards: "Amazing Grace," "Family Bible," "How Great Thou Art," "Old Rugged Cross" and the like...

Rue Barclay "Country And Folk Gospel Songs" (Christian Faith Records, 19--?) (LP)

Bobby Bare "This I Believe" (RCA Victor, 1966) (LP)

Alvis Barnett -- see artist profile

The Barrier Brothers "Gospel Songs Bluegrass Style" (Philips Records, 1962) (LP)

Richard Barron & Ray Turner "When They Ring Those Golden Bells" (Chapel Records, 196--?) (LP)
Disappointing. The liner notes promised "gospel music with a country flavor," and specifically call out guitarist Murel Moddell for his "typical Western style," as well as promising an "old-fashioned fiddle" somewhere in the mix, although if it's there, my ears missed it. Mostly, though, this is stuffy, churchy, old-fashioned, non-southern sounding gospel singing, predominated by a rather bland backing by organist Ouida Turner, who worked with Richard Barron for several years, and recorded several albums of her own. Tenor vocalist Richard Barron also performed in a family group with his brother Henry, and was joined in 1960 by veteran performer Ray Turner who had previously worked for over a decade as the bass vocalist of the King's Heralds quartet. Barron and Turner formed their own evangelical organization, World Wide Crusade For Christ, which released their later albums. As for this disc, I found it pretty dreary -- the "western" guitar does come out on one track, a decent version of "Suppertime," though I wouldn't exactly characterize it as particularly twangy. Although this came out on the California-based Chapel label, the duo seems to have been based in Fort Worth, Texas.

Richard Barron & Ray Turner "Speak My Lord" (Self-released, 196--?) (LP)

Dick Barron & Ray Turner "Christ For Me: Crusade Favorites" (Self-released, 196--?) (LP)
Not sure which of these LPs came first, though this one's more fun. Mostly it's because fo the spoken interludes and song introductions, which have strong kitsch appeal... The music is a bit more engaging as well, though still a little too churchy and fusty for my tastes. Not a country set, at all, but there is a genuine revival vibe. There seem to be at least two editions of this album, one with standard-issue cover, picturing Barron and Turner smiling proudly on the front cover, and salutary liner notes; the version I found at my local Record Hut just has a generic custom-label nature photo on the front, and a plain white back cover.

Curt Bartmess & Faye Bartmess "In Honor Of You" (Benson Sound Records, 19--?) (LP)
(Produced by Chet Barnett)
Great, old-fashioned country gospel, with a style dating back to the Great Depression era, and lively, pure country backing by the fellers at Benson Sound... The Rev. and Mrs. Bartness were an evangelical duo with a recording career that spanned back to the early 1950s, and a pastorship in Ada, Oklahoma that lasted well into the 2000s. A few of their old 78 and 45rpm releases have been anthologized on top-flight reissue compilations, notably "The Downward Road," on Flyright's HILLBILLY GOSPEL disc, and "Set Your Watch" which was included on the "Caucasian-American" gospel compilation, WHERE THE SOUL OF MAN NEVER DIES, and is reprised here in this fine set of all-original material. Alas, there doesn't seem to be a collection of all their early work, though this later recording is an understated gem, sort of like a hypothetical collaboration between Alfred G. Karnes and Merle Haggard's band, The Strangers, with buoyant, steel-driven twang punctuated by Mr. Bartmess's antique-sounding mandolin riffs, and anchored by Mrs. Bartmess's steady strumming on rhythm guitar. Best of all are Rev. Bartmess's croaky vocals, a plain, no-nonsense presentation that oozes rural authenticity. The backing band are studio pros in the orbit of Oklahoma City's gospel powerhouse, Benson Sound, who decisively move away from the staid sound on many of their more sedate southern gospel albums, and give this album a cheerfully brisk, twangy feel. This is the kind of country gospel set I'm looking for in the "private press" word. Good stuff!

Jeff Bates "One Day Closer" (Black River Records, 2011)
A 6-song EP of inspirational songs...

The Beaver Flatt Community Singers "Beyond" (Graybeard Records, 1971) (LP)
(Produced by Charles Henry & Mose Henry)
Not really all that "country," but still of interest. I guess at the time this would have been considered "Jesus Freak" music -- hippie-ish folkie stuff with a dreamy, Jesus-y vibe. This group from St. Petersburg, Florida was led by Charles Henry and Mose Henry (who I think were brothers) the founders of Mountain Top Communications, or MTC, their Christian-oriented media company, which provided the framework for their work in film and television, as well as in music. Mose Henry had a long history in the music industry, having been an erstwhile member of the early 'Sixties folk group The Highwaymen, and continuing along as a Christian folkie after that. Apparently UK folkie Sandy Denny recorded several of his songs in 1972, as part of a soundtrack to a feature film called Swedish Fly Girls, some sort of Scandinavian sex comedy about a hot-to-trot Danish airplane stewardess, with some involvement by rocker Manfred Mann as well. Mose Henry and his wife Diane also recorded at least one album in the late '70s with a similarly crypto-Christian feel.

Clyde Beavers "Hallelujah, Amen" (Songs Of Faith, 1964) (LP)
(Produced by Scotty Moore & Cecil Scaife)
A very twangy country-gospel offering, with thumpy backbeats and pedal steel, and solid, chunky hillbilly vocals... Later, in the '70s and '80s, Beavers specialized in gospel material, producing several albums (including one of his own) for the Jesus Christ Is Lord (JCL) label, which I suspect he may have owned as well. Backing him on this album is his band, the Eager Beavers, featuring steel player Jim Baker and his wife, a gal singer named Sudie Callaway, who was a member of the country/gospel vocal group, The Callaways.

Clyde Beavers "Southern Gospel Legends Series" (Songs Of Faith, 2007)
This digital-era reissue combines all the material from Beavers' Hallelujah, Amen album with a much later release, Mary Had A Little Lamb, which was released on the Jesus Christ Is Lord label (which I think he owned...)

Glennda Beck "Precious Lord" (Charter Records, 19--?) (LP)

Glennda Beck "Sweet Jesus" (Charter Records, 19--?) (LP)
(Produced by Ellis Miller)
A gospel singer from Estacada, Oregon, a tiny town not far from Portland, Glennda Beck recorded at least three albums, including two on Charter Records, an offshoot of the Washington-based Ripcord Studios. According to the liner notes, this was her second album, with backing by Allen Beck (organ), Ellis Miller (bass), David Dixon (drums), Gene Keyes (piano), and Ripcord's owner, Gene Breeden, on guitar.

Glennda Beck "His Life, My Path" (Pinebrook Recording Studios, 1981) (LP)
(Produced by Roger Byrd)

Bill Beeny, Margaret Beeny & The Westerners "Sonny Boy Album" (Temple Records, 1963-?) (LP)
The Beenys were, I believe, married couple from Saint Louis, Missouri who evangelized in the area as well as recording several albums of all gospel material, including both standards and songs they themselves wrote. I'm not sure about the time-frame for these uber-indie albums (some of which didn't even have cardboard jackets!) but I think they were made in the early 1960s through the 'Seventies. It turns out that Bill Beeny (1926-2022) was a more-than-colorful character, a rabid right-winger of the John Birch-ian variety: Beeny ran an "anticommunist ranch" near Wright City, and formed a group called CROSS (Counter-Revolutionary Organization on Salvation and Service) which sponsored classes to train its members to use guns, so they could mix it up with the hippies and Black Panthers, in case the forces of godless anarchy ever tried to invade the Ozarks. A staunch segregationist, Beeny ran unsuccessfully for statewide office, and was a supporter of George Wallace's 1968 presidential run. He also had ongoing legal problems -- mostly tax issues -- and was kicked out of several positions as a pastor in Southern Baptist churches. The best part comes years later, though, when Beeny mellowed a little and became an Elvis Presley conspiracy theorist, opening the "Elvis Is Alive Museum," which he ran until 2007, when he sold his Presley relics on eBay. Jinkies. What a nut! (Thanks to Wikipedia for filling in the blanks.)

Bill And Margaret Beeny & The Westerners "Heaven's Hall Of Fame" (Temple Records, 19--?) (LP)

Bill And Margaret Beeny & The Westerners "Circuit Ridin' Preacher" (Temple Records, 19--?) (LP)
This album includes a twenty-minute long sermon entitled "Are There Communists In Our Churches?" along with the title track and "Heaven's Hall Of Fame" (which appears on another Beeny album) and versions of oldies such as "Did You Think To Pray," "Supper Time," et. al. The sermon sounds pretty fun!

Keith Belknap "Volume One: One Step" (Arrow Records, 196--?) (LP)

Keith Belknap "Volume Two: I Know Him" (Arrow Records, 196--?) (LP)

Keith Belknap & Jimmie Lee Belknap "We'll Work Until Jesus Comes" (Arrow Records, 196--?) (LP)

Keith Belknap & Eldon Belknap "Singing Double" (Arrow Records, 196--?) (LP)

Keith Belknap "My Destiny" (Champions Music, 1981) (LP)
(Produced by A. V. Mittelstedt)
A country-flavored set from southern gospel singer Keith L. Belknap (1936-2001) who grew up in rural southern Oklahoma... Mr. Belknap started performing locally in the late 1950s and early '60s, recording several albums on local Arrow label and singing at the Calvary Baptist Church in Lawton along with various family members. At some point he may have joined Howie Lister's southern gospel group the Statesmen; Lister recorded a song called "Lord Guide This Country," with lyrics written by Mr. Belknap. This set was recorded down in Houston, Texas -- what caught my eye was the presence of veteran producer A. V. Mittelstedt and guitarist Randy Cornor, with additional backing by Buzzy Smith on piano, steel work by Robbie Springfield, and vocals by Toni Jolene and Susan Smith. This may have been Mr. Belknap's last record, though he recorded at least five others back in the 'Sixties.

The Belknaps "Born To Win" (Champions Music, 1979) (LP)
(Produced by Brent King)
A family album, with vocals from Keith Belknap, his father, Keith Belknap Sr., Jimmie Lee Belknap and Kimberlee Belknap, and a slew of songs written (separately) by Keith and Kimberlee. They seem to have trekked over to Nashville to record this set, with backing from studio pros such as Kenny Malone, Tony Miglione. Joe Osborn and Billy Sanford. Perhaps most interesting about this album is the appropriation of several songs from outside of the southern gospel scene, including quasi-spiritual, inspirational numbers from the likes of George Harrison ("If You Believe"), Billy Joel ("Everybody Has A Dream"), Harry Nilsson ("Remember") and Todd Rundgren ("Love Is The Answer") as well as a song from David Ingles of the Weatherford Quartet.

Delia Bell & Bill Grant "There Is A Fountain" (Kiamichi Records, 1975) (LP)
(Produced by Bob Sullivan)
Texahoman bluegrass/old-timey singers Delia Bell and Bill Grant were certainly no strangers to country music's religious traditions, and this set of gospel tunes is a fine early example of their pure, richly authentic musical sound. Amid the public domain oldies are a few originals, including "The Tramp" and "I KNow The Time Is Near For Me" from Bill Grant (as well as one called "Stairway To Heaven," which was apparently co-written with one of the Stanley Brothers. There's also a song called "Death Picked A Flower," written by Ollie and Callie Bonham, members of the Bonham family which made up Bell and Grant's backing band, The Kiamichi Boys. About as good as it gets!

Delia Bell & Bill Grant "The Last Christmas Tree" (Kiamichi Records, 1977) (LP)
(Produced by Bob Sullivan)

Delia Bell & Bill Grant "Sacred Collection" (Old Homestead Records, 1994)

Delia Bell & Bill Grant "Sacred Favorites Through The Years" (Old Homestead Records, 1997)

The Bellamy Brothers "Jesus Is Coming" (Curb Records, 2007)

Bellarmine Glee Club/Various Artists "Bellarmine Worships" (Hilltop Records, 1966-?) (LP)
One of the fallouts of the Second Vatican Council, which ended in 1965, was that the papacy gave its eye-rolling consent for Catholics to spread the holy word through frightfully earnest folk music... it could even be sung in English! This did not go unnoticed in San Jose, California, home to Bellarmine College Preparatory, a Jesuit boy's school that is also the oldest secondary school in California. And Bellarmine had some groovy folks there in the 'Sixties, with-it cats who were ready to roll when the whole "folk mass" thing opened up. A new choral director, Russell J. Roide, had recently started at Bellarmine in 1965, and was the driving force behind this bright, cheery, youthful, super-earnest album. Of special note here are singer/vocal soloist Joe Ferrara, who made a couple of secular folk records of his own in the 'Seventies, who also plays guitar on this album. In addition this set incorporates several songs from Catholic composer Ray Repp (1942-2020), a groundbreaking Catholic folk musician whose 1965 solo debut, Mass For Young Americans, is credited as a landmark record for the genre. Coming out just a year later, this Glee Club album is probably one of the first records to include cover versions of Repp's work And it's just such a gosh-darn fresh-faced, chirpy, optimistic little album... Really gives you hope for the kids of today!

Jerry Wayne Bernard "Mama's Favorite Hymns" (Rainbow Sound, Incorporated, 19--?) (LP)
(Produced by Bob Cline)
Well, it was worth a shot... I guess. I picked this Dallas disc up because of the presence of several notable Texas sidemen, notably bassist Marc Jaco, his pal Marvin Montgomery, and harmonica player Mickey Raphael, from Willie Nelson's band. What I didn't realize, but now know, is that when a gospel album mentions the singer being backed by a "male chorus," that's a major red flag. Kinda like bongo drums on anything country. Anyway, this is bland, lethargic material that lingers far too much on Mr. Bernard's syrupy baritone. He had access to some twangy talent, but didn't really take much advantage of it. I'll pass.

John Berry -- see artist profile

The Bethel Ambassadors "God Bless America" (Ambassador Records) (LP)
(Produced by Jack Linneman)
A vocal quintet from Columbus, Indiana, the Bethel Ambassadors were led by Lloyd Stader, and were generally a little too strident and showy a vocal group for my tastes. What drew me to this album was the liner notes that show the backing of several country studio pros, including guitarists Al Gore and Jeff Newman, with Newman playing both lead guitar and steel... Looks like they recorded these sessions at the Starday studios in Nashville, though the country dudes are mostly subsumed by a fairly generic white-gospel/barbershop sound. For country fans, the album highlights include "Sweeter Gets The Journey," "Jesus Is Coming Soon" (which balances some jaunty Chet Atkins-influenced chicken-pickin' with the Hank Locklin-esque lead vocals) and a lively "Get Behind Me Satan," with hillbilly recitation ala Tex Williams. The Ambassadors apparently recorded at least five albums before this one, listed on the back cover, though I found this one a little jarring: they seem like they're trying a little too hard to sound like flashy, zip-bang vocalists, if you ask me.

Bethlehem "Bethlehem" (Maranatha Records, 1978) (LP)
(Produced by Al Perkins & Tom Stipe)
An exemplary "Jesus freak" country-rock gospel album, one of the more musically convincing releases on the Southern California-based Maranatha label... Indeed, this slick, melodic set sounds like something that could have been released by superstar contemporaries such as Poco or America, just with a persistent religious message, lots of smooth vocal harmonies and smooth, super-professional musical arrangements, multi-tracked to a fare-thee-well by country-rock sideman Al Perkins and his earnest crew. The band was led by singer Danny Daniels, who was a pastor in the hippie-adjacent Vineyard movement, and apparently a founder of the Maranatha label (according to Discogs.) The shaggy-looking bros on the album cover also included drummer Dan McCleery, Dom Franco (dobro and steel guitar), John Falcone (bass), Randy Rigby on keyboards and lead guitar. All but two of the songs were originals credited to "Glenn Daniels" (apparently an alias for lead singer Danny Daniels) while steel player Dominic Franco sings the other two, which were both his own compositions. Various and sundry Maranatha-ites also chime in: Al Perkins strums some guitar, Richie Furay sings harmony, Furay's keyboard player Tom Stipe is one of the album's producers, etc. This album cuts both ways -- on one hand, the confident professionalism of the production makes this one of the better and more musically satisfying Jesus Movement country albums, though more secular-minded twangfans might find the evangelical messaging a bit cloying and narrowly focussed. Potato, patato, I guess.

(The Bible Singing) Bibb Family "God's People" (Family Records, 19--?) (LP)
(Produced by Dan Duncan & Gene Breeden)
Another off-the-radar Pacific Northwest gospel set with ties to the Ripcord Studios in Vancouver, Washington. According to the liner notes, Gayle and Robert Bibb had a pastorship in Pocatello, Idaho for seventeen years before they became traveling evangelists. This record includes three songs from Gayla Bibb, and one by her father, Robert Bibb. It's probably worth noting that the Family Records label also released gospel sets from other artists, such as Buzz Goertzen, The Waddington Family, producer Dan Duncan, and others. I'm not sure, but this may have been the Bibb Family's first album.

(The Bible Singing) Bibb Family "I Have Been Set Free" (Family Records, 19--?) (LP)
(Produced by Dan Duncan & Dave Dixon)
Alas, this disc includes no musician credits, though once again they recorded at the Ripcord Studios, and it's likely that Ripcord stalwarts such as Gene Breeden, Geno Keyes and Ellis Miller were in the mix somewhere. Daughter Gayle Bibb remains one fo the group's central figures, contributing two more originals, alongside one each from Robert Bibb and Tamra Bibb, as well as contemporary Christian gospel from The Hinsons and The Rambos.

(The Bible Singing) Bibb Family "Wonderful Feelin' " (Family Records, 1980-?) (LP)
(Produced by David Huff & Ray Huff)
All the songs on this album were Bibb Family originals, though they definitely changed things up a bit from their previous records. The Bibbs now give their address as being in Portland, Oregon, and daughter Gayla is now using her married name, Gayle Baughman. This session was recorded at Huff Studios, in Laurel, Mississippi, with arrangements by Gerald Hagan, who also plays piano and synthesizer on these tracks. Other musicians include steel player Billy Car, Clayborn Huff on bass, David Huff (guitar), Keith Thibodeaux (drums) and of course the Bibbs providing the vocals.

Gayla Bibb "The Parasol" (Family Records, 1977-?) (LP)
(Produced by Dan Duncan)

The Bibletones "...Sing Are You Ready" (Echo Sound Records, 19--?) (LP)
(Produced by Dale Shelnut)

The Bibletones "The Mississippi Sound Of The Bibletones" (Morning Star Records, 1983) (LP)
(Produced by Eddie Crook & Kevin McManus)
A long-running gospel group from Mississippi, the Bibletones were founded in 1957, and like many southern gospel bands they have gone through innumerable changes in their lineup. These mid-'Eighties albums caught my eye because of the participation of some heavyweight studio pickers from the country world, notably guitarist Bruce Watkins and pedal steel whiz Terry Crisp, as well as producer Eddie Crook on keyboards. Not sure who the vocalists were (they aren't identified) but this lineup seems to have

The Bibletones "A Southern Tradition" (Morning Star Records, 1985) (LP)
Another country-flavored set, this time with guitar by Greg Galbraith and pedal steel courtesy of Doug Jernigan... Of course the group cut a bazillion records over the years, and you'd have to trawl through a bunch of southern gospel websites to piece it all together... I'm mostly just interested in these discs because of the pickers who were backing them...

Karon Blackwell "Live In Concert" (Blackland Records, 1977) (LP)
(Produced by James Garland)
Singer Karon Blackwell was from Ellisville, Mississippi, though she and her husband, comedian Marty Allen did extensive touring and lounge gigs in Vegas and elsewhere... This is a double LP, mainly with covers of '70s countrypolitan hits, a few honkytonk oldies ("Jambalaya") and a couple of Motown and pop standards, stuff like "Shop Around" and "Impossible Dream." The second disc is almost all gospel, including a longer gospel medley, although most of the other songs are secular... This album was recorded several years before she and Allen met and married... One song, "Blue Skies And Roses," scraped its way into the Country Top 100, but that was the extent of Blackwell's chart action on a national level.

The Blackwood Brothers "Rock-A My Soul" (Bear Family Records, 2002)
This 5-CD set may be for true believers only, but if you fit that category... what a treat this will be! The Blackwood Brothers quartet were one of the pillars of the Southern Gospel sound, and this fancy box set gathers together all their recordings on the RCA label, from between 1950-59... classic, foundational material for the country gospel sound.

Debi Blackwood "Soulful Sounds" (Vision Records, 1981) (LP)
(Produced by Leon Harris)
An unusual offering from Vision Records, a fierce little indie label from Modesto, California that captured some of the twangier sounds of the Central Valley's country gospel scene. I was first drawn to this album wondering if Debi Blackwood was related to the southern gospel Blackwood Brothers (don't think so) but then delighted to find another Vision LP. My sense of triumph was slightly dimmed by the record itself, which is stylistically distant from other releases on the label -- no pedal steel or mandolin here, but rather a strong tilt towards contemporary black pop-gospel, with several covers of Andre Crouch songs, and the spirit of Aretha Franklin hovering not far over Ms. Blackwood's expansive vocals. She had a strong set of pipes and could hit some great notes, but her sense of phrasing could get a little slippery... Besides which, this isn't really the kind of gospel music I'm into. Hailing from Blythe, California, in the desert area bordering Arizona, Ms. Blackwood was backed by Harold Bell (lead guitar), Danny Burchett (piano), Jimmy Harris (drums) and Danny Well on bass -- not sure if these were Central Valley or desert musicians, though most likely they were recruited by producer Leon Harris for these sessions.

Ron W. Blackwood & Donna Blackwood "Country" (Rite Records, 197--?) (LP)
(Produced by Dan Burton & Lan Ackley)
A secular set by "RW & Donna," aka the Nashville-based duo of Donna Blackwood and her husband, Ron Blackwood, who was best known as the youngest member of the fabled Blackwood Brothers southern gospel group. Although their careers were mostly devoted to religious material, here RW & Donna work their way through an all-covers set of early 'Seventies country hits, singalong favorites such as "Let Me Be There," "Please Mister Please," "The Top Of The World" and "Somebody Done Somebody Wrong Song." Over the years R.W. moved between various incarnations of the Blackwood Brothers and his own Blackwood Singers band, eventually moving from Tennessee to the warm embrace of the Branson, Missouri/Ozark oldies-opry scene. I'm not sure when this album came out, but I'd guess sometime around the mid-'Seventies.

Norman & Nancy Blake "The Morning Glory Ramblers" (Western Jubilee/Dualtone Records, 2004)
Another sweet, understated set of quiet, old-timey tunes which slows the pace of life down and takes us back to simpler days. The Blakes are old hands at this kind of musical wizardry, and while this disc doesn't cut any paths for them, it's another fine example of their mastery of the style. This is a mostly gospel set, and if you want a mellow, non-confrontational version of the country gospel, this is a pretty little disc.

Leroy Blankenship "To All Music Lovers All Over The World" (Benson Sound Records, 1977-?) (LP)
(Produced by Gary Duggan & Gerald Tucker)
An immensely prolific self-funded gospel singer, Leroy Blankenship seems to have been from Sunnyside, Washington (near Yakima) although details of his life are pretty elusive. In addition to recording at the fabled Ripcord Studios in Vancouver, Washington, he made pilgrimages to Benson Studios in Oklahoma City, as well as numerous trips to Nashville, where he struck up a long relationship to producer Wayne Walters, a West Coast expat who once led The Christian Troubadours band before setting himself up as an independent producer in Tennessee. Like most of his records, this early release doesn't have a date, but it appears to have been one of his first albums, released some time in the late 'Seventies. The session was recorded in Oklahoma City: although there are no individual musician credits, the liner notes inform us that Mr. Blankenship was backed by "Benson Studio musicians," possibly with label head Larry Benson leading the group.

Leroy Blankenship "Double Exposure: Leroy Sings What He Writes" (Charter Records, 19--?) (LP)
(Produced by J. Andy Thompson)
A Pacific Northwest production, recorded at Ripcord Studios with an unknown coterie of Ripcord musicians. No date on this disc, and no individual credits, though there is a photography credit from a studio in Sunnyside, WA. All the songs were Blankenship originals, generally featuring heartfelt vocals with stiff phrasing and a limited range, balanced by somewhat brisk, almost trite, cut-and-paste countrypolitan arrangements. It does qualify as country, but within the context of the pop-orchestral crossovers of the 'Seventies. What redeems this, I suppose, is Mr. Blankenship's intense sincerity, and to a lesser extent his plainspoken vocals, which may suggest an odd combination of Buck Owens and Roger Miller. But the songs all sound a bit similar, with uneasy, endless transitions from one line to the next: this isn't a very smooth-sounding album, despite the syrupy string arrangements. This album showcases an all-Blankenship song list, with backing by an unidentified studio crew at the Ripcord Studios in Vancouver, Washington. There's a notable absence of pedal steel or other overt denominators of twang, but plenty of pert yet emotionally flat string arrangements. If you're not into Jesus music or the whole southern gospel/country crossover thing, this album probably won't do much to win you over, though it's still worth a nod from us twangfans.

Leroy Blankenship "Walk With Me" (Gospel Heritage Records, 19--?) (LP)

Leroy Blankenship "A Time And Place" (Gospel Heritage Records, 19--?) (LP)

Leroy Blankenship "When Dust Shall Sing" (Gospel Heritage Records, 19--?) (LP)
Once again, there are no musician credits, although the back cover mentions two earlier albums: Walk With Me and A Time And Place, which I've added above.

Leroy Blankenship "For People" (Gospel Heritage Records, 19--?) (LP)

Leroy Blankenship "Call Him A Song" (Gospel Heritage Records, 19--?) (LP)
(Produced by Wayne Walters)
A Nashville outing, with Blankenship now working in Wayne Walters' orbit. About half the songs are Blankenship originals, with additional tunes from the Rambos and Bill Gaither, as well as one song, "People Like Me," by producer Wayne Walters. The backing musicians include Jack Boles (viola), Bob Dean (drums), Hubert Hester (violin), Gene O'Neal (steel guitar), Noel Walters (bass) Wayne Walters (rhythm guitar) and Buck White on piano. [Note: It's hard to tell what order these Gospel Heritage albums came out in, particularly as the numbering systems seems to have changed at some point. I'm really just winging it.]

Leroy Blankenship "Retirement Plan" (Gospel Heritage Records, 19--?) (LP)
(Produced by Wayne Walters)
Another country gospel set recorded in Nashville, with some Music City heavyweights such as Hoot Hester, Willie Rainford and Bruce Watkins helping fill out the sound alongside West Coast pickers like Alvis Barnett, Leroy Blankenship, producer Wayne Walters and a few of his family members. A few of the songs are originals, including two by Mr. Blankenship and one from Wayne Walters.

Leroy Blankenship & Wayne Walters "Friendship: A Gift From God" (Southern Heritage Records, 19--?) (LP)
(Produced by Leroy Blankenship & Wayne Walters)

Leroy Blankenship "Love Is Free" (Southern Heritage Records, 19--?) (LP)

The Blanton Family Gospel Singers "The Blanton Family Gospel Singers" (19--?) (LP)

The Blanton Family Singers "Sunrise" (New Day Records, 19--?) (LP)

Blue Highway "Wonderous Love" (Rounder Records, 2003)
An all-gospel album, with musically softened edges that nudge the work into Southern Gospel territory. More vocally oriented and not that much going on in the super-duper picking department; I'd say this disc is more aimed at the true believers, rather than at bluegrass fans. It's okay, but not that distinctive, particularly given the post-millennial glut of similar god-grass material.

The Blue Ridge "Somebody Touched Me" (Mark Four Records, 1975-?) (LP)
(Produced by Reggie Wallace)
One of many, many albums from this South Carolina southern gospel vocal group. The members of this edition of the group are, sadly, not identified by name, though longtime bass vocalist Burl Strevel is listed as the group's manager, with his home address in Spartanburg provided on the back cover. The Blue Ridge lads traveled to Cincinnati to cut this set at the newly-opened QCA Studios, where they found sympathetic backing from QCA's house band, in this case made up of Jerry Browning on drums, George Colley (bass), Kenny Gates (piano), Chuck Rich (steel guitar), and Denny Rice playing guitar. The liner notes proudly proclaim them to be "the first full-time Gospel group to record in out new Q.C.A. Recording Studio" (though they certainly were not the last!)

The Blue Ridge "Thank You, Mr. D.J.!" (QCA Records, 1978) (LP)
(Produced by Frank E. Ruhl & Chuck Seitz)
Well, these guys definitely knew which side their bread was buttered on: not only is the title track one of those songs about deejays, the back cover graphics are dominated by yearbook-like photos of 116 gospel music deejays from all across the United States... along with their names and station call letters. I suppose if you wanted to do a little research on the state of Christian radio in the late 1970s, this disc would be a good place to start! As far as the music goes, for the most part it's pretty solid and satisfying. Producer-arranger Chuck Seitz provides solid Top Forty-style country backing, and the group fits nicely into the same sound as nationally-known groups like the Statler Brothers or the Oak Ridge Boys, nice and easy on the ears. Less appealing are the few tracks with a schmaltzier, more overwrought contemporary Christian feel, but overall, this is a swell set. Worth a spin. Also, this appears to have been one of the last Blue Ridge albums to feature bass vocalist Burl Strevel, who passed away in 1981.

The Blue Sky Boys -- see artist discography

The Bluegrass Brethren "Praisin' Jesus: Down Home Country Gospel" (Duchess Records, 1979) (LP)
(Produced by Don Anderson & Steve Brown)
West Coast bluegrass gospel by a band from Orange Country, California. The Brethren were made up of Don Anderson (banjo and guitar), Matt Brislawn (fiddle), Tim Bryant (bass and guitar), Craig Furlong (bass and guitar), and Don Gerber (banjo, guitar and mandolin). A lot of these tracks were new songs credited to the band, with Tim Bryant as the principal songwriter, but their focus was clearly old-school and traditional. I'm not 100% sure, but I think these two albums were their only records. Tim Bryant seems to have played on a few other albums, though Don Gerber was a successful studio musicians, playing in several other gospel groups and did a ton of session work for various gospel and Contemporary Christian records, notably releases on the Maranatha label.

The Bluegrass Brethren "Looking Unto Jesus" (BGB Records, 1980) (LP)
(Produced by Chuck Minear)
Pretty much the same lineup as on their first album, with the addition of guest picker Leroy McNees (aka Leroy Mack) on dobro. Again, almost all the songs were Tim Bryant originals, with the lone exception being "Thank You Jesus," written by Craig Furlong.

The Bluegrass Cardinals "Sunday Mornin' Singin' " (CMH Records, 1980) (LP)

The Bluegrass Cardinals "The Shining Path" (Sugar Hill Records, 1985) (LP)

Blueridge "Gettin' Ready" (Pinecastle Records, 2006)
An all-gospel bluegrass album, with emphasis on harmony vocals...

Ginger Boatwright "Inside The Gate" (2007)

Eddie Bond "Sings Greatest Country Gospel Hits" (Philips International/Advance Records, 1962-?) (LP)

Bonnie Lou & Buster "Hymn Time" (Waterfall Records, 1963) (LP)

Bonnie Lou & Buster "...Sing Country Bluegrass And Gospel" (Angel Records, 1977) (LP)
A husband-wife duo who were regulars on the Smokey Mountain Hayride, and whose careers stretched back to the 1940s. Hubert "Buster" Moore (1920-1995) was from rural Tennessee, and worked in various hillbilly and bluegrass bands before and after the war, including stints with Carl Story and Eddie Hill. After Moore met and married Margaret Bell-Moore (1927-2020), they formed their own band and changed her stage name to Bonnie Lou, moving from city to city for various jobs at radio stations and concert venues, including gigs in Bristol, Harrisburg, Knoxville, Salem, and her hometown of Ashville, North Carolina. They're best-known for their tenure at the Opry-esque Smokey Mountain Hayride variety show, a venue in Pigeon Forge, Tennessee that opened in 1972. They worked with local musicians including bluegrasser Don McHan, who performs with them on this album, playing banjo, along with Darrell Henry on dobro, and Buster Moore playing fiddle and mandolin. [Note: Mrs. Moore is not to be confused with the nationally-famous singer known as Bonnie Lou (nee Mary Joan Kath) who came from the Midwest and became a pop-country crossover artist in the 1950s.]

Bonnie Lou & Buster "...Sing Gospel" (Masterco Records, 1982) (LP)

Born Again Bluegrass Band "Born Again Bluegrass Band" (BABB Records, 1977)

Uncle Ish Bowen "Something Got Hold Of Me" (Master Records, 19--?) (LP)
A simple, haunting country gospel set from a former honkytonker who got religion and switched to gospel music... Ishel Femus Bowen (1917-1989) was born in Shelby, North Carolina, but had moved to Newport News, Virginia by the time he recorded this album. I don't have much info about his musical career; Mr. Bowen worked as a welder in the Virginia shipyards and possibly was strictly an amateur musician. The record includes two songs sung by bassist David Jones, as well as one written by Ann Allman who sings on the album, along with Ms. Lola Begg also play on the album. It's a nice, simple set -- sparsely recorded with Bowen strumming an acoustic guitar, singing in an old-fashioned style reminiscent of Roy Acuff and the Depression-era country scene, with Allman and Begg adding Carter Family-esque harmonies. Also charming are their clumsy attempts and counterpoint recitation on tracks like "I Wasn't There." This is deep, authentic rural stuff -- heartfelt, unpretentious and sincerely moving. The tracks with Jones singing lead are slicker and more upbeat, though also quite nice.

Blaine Bowman & The Children Of Light "It's Great Right Now" (NER Records, 1975) (LP)
(Produced by Phil Burkhart & Larry Templeton)
A Christian artist from South Lebanon, Ohio, Blaine Bowman can perhaps best be seen through more of a loner-folk/contemporary Christian lens, though he was somewhat country-gospel adjacent. This is an early edition of his band, The Children Of Light, which also included his sister, Diana Bowman Wade, on piano and organ, as well as bassist Steve Jacobs and drummer Wayne McCleese and various vocalists. This may have been their first album, with most of the songs being Blaine Johnson's own originals... The group's lineup soon gelled into its permanent lineup (seen below) and they made several albums, through the end of the 'Seventies.

Blaine Bowman & The Children Of Light "It's The Name Of Jesus Christ" (NER Records, 1975) (LP)
(Produced by Phil Burkhart & Wayne Carter)
This next album featured the group's more or less permanent lineup, with Blaine Bowman on guitar, piano and lead vocals, and his sister, Diana Wade, on piano, organ and vocals, along with Tim Bicknell (guitar), Keith Cole (bass), and Mike Rhodehamel (drums). The liner notes say that this was their second album, and once again it is packed with original material, most of it written by Blaine Bowman.

Blaine Bowman & The Children Of Light "I Want To Know" (NER Records, 1976-?) (LP)
(Produced by Jerry Maglinger)
After recording a couple of albums in Cincinnati, The Children Of Light decamped to Nashville for their next session. This is basically the same lineup as above, with the addition of steel guitar player Jerry Taylor. More than half the songs are Bowman's originals, though there are also two songs credited to Diana Wade, and one co-composed by Jim Cole and bassist Keith Cole.

Blaine Bowman "Take It To The Man" (NER Records, 1978-?) (LP)
(Produced by Jerry Maglinger)
Another album recorded in Nashville, billed as a solo set, though it has basically the same lineup as above. This disc is packed with original material penned by Mr. Bowman, as well as two songs from Jim Cole, and one each by Charles B. Fettner and Jack McGowan.

John Bowman "Remember Me" (Mountain Home Records, 2000)
A sweet, straightforward gospel outing, with smooth, sleek melodies and nice, honey-toned harmonies. Recommended!

Slim Boyd & The Rangehands "Christmas Country Style" (Premier Records, 19--?) (LP)
One of those odd artifacts of the cheapo-label scene... "Slim Boyd" was apparently an alias for hillbilly singer Curley Williams, who is said to have recorded under about a dozen different names, for reasons that have long been lost to the seasons of time. Of course there's some controversy as to whether all of the tracks credited to Slim Boyd (or the other aliases) are attributable to Mr. Williams, or if the Boyd persona was used as a way for the label(s) to repackage all sorts of stuff from their vaults, and may have been a catch-all for various performer's work. It's all quite murky, and I am hardly the world's expert on the matter. So, we'll just accept that this is a "Slim Boyd" album, and leave it at that. Anyway, if you dig holiday music, this disc's got some fun tunes, with some lesser-known material like "Wagon On Christmas" and the jaunty "On December 5 And 20," as well as chestnuts like "Rudolph The Red Nosed Reindeer," et. al.

Rita Boyes "According To His Word" (Charter Records, 19--?) (LP)
(Produced by Gene Breeden & Ron Stevens)
Local country(ish) gospel from a resident of Longview, Washington, just north of Portland. This was recorded at the legendary Ripcord Studios in nearby Vancouver, WA, with backing from studio head Gene Breeden on guitar, along with Sharon Dailey (piano), Steve Effinger (organ), Danny Rice (drums), and Ted Swenson playing bass. The liner notes say Ms. Boyes was born again two years earlier, though it's not clear if she was an active musician before then. The set list includes Bill Gaither, Ira Stanphill and Kris Kristofferson ("One Day At A Time") though apparently no originals by Ms. Boyes.

Dale Ann Bradley "Songs Of Praise And Glory" (Pinecastle Records, 2001)
Former New Coon Creek gal Dale Ann Bradley returns to her roots with a fine all-gospel album -- sincere, heartfelt and full of gorgeous harmonies and solid, down-to-earth picking. One of her best, and the kind of album that gives bluegrass gospel a good name, even for the more secular-minded among us. Recommended!

Dale Ann Bradley "Send The Angels" (Mountain Home Records, 2004)

Terry Bradshaw "Sings Christmas Songs For The Whole World" (Dove Records, 1996)
At the height of his fame as quarterback of the 1970's Pittsburgh Steelers, football dude Terry Bradshaw also tried his hand at country music. His first album yielded a modest hit with a cover of an old Hank Williams song, but that success was never quite replicated on his later records, and he went back full-time to the gridiron. In the 1990s, Bradshaw returned to the studios to record this pair of gospel and holiday records...

Terry Bradshaw & Jake Hess "Terry & Jake" (Chordant Records, 1996)

Bill Bradway & Jean Bradway "Gospel Hawaiianaires" (Christian Faith Records, 1965-?) (LP)
According to the liner notes, steel guitar player Bill Bradway was a farm kid from rural New Jersey who had a flair for repairing musical instruments as well as a knack with electronics. He tinkered around and built his own electric guitars, and eventually designed his own line of double-necked pedal steels. He formed his own band in Atlantic City, a Pacific-themed trio called the Hawaiianaires, which played gigs at Hunt's Ocean Pier amusement park, as well as performing daily on the radio, and with big band/pop bandleader Horace Heidt. The Bradways were "born again" in 1955 and devoted themselves entirely to gospel music and evangelizing at church events. The tunes on this instrumental album are mainly gospel classics, such as "Onward Christian Soldiers," "What A Friend We Have In Jesus" and "The Old Rugged Cross," but they sure sound like old-school Hawaiian guitar tunes rather than fusty old hymns. Certainly worth a spin!

Branches "Branches" (Music Mentor Records, 19--?) (LP)
Not much info about this five-member group from Visalia, California... A ton of original material, though, with four songs credited simply to "Price," and five more to "Overman." Any additional information is welcome!

Branson "When We Sing For Him" (Ramblin' Records, 1986) (LP)
(Produced by John Salem)
A southern gospel performance, recorded live on August 30, 1986 at a venue called Country Music World, in lovely downtown Branson, Missouri. This creatively-named vocal quartet is backed by a group called the NightWay Band, with pedal steel (Obie Jones), banjo (Danney Yancey), bass, drums and keyboards. Not sure if they made any other records...

The Brassfield Trio "God's Countdown" (Bejay Records, 1969) (LP)
(Produced by Ben Jack and Glenn Smith)
A pleasantly country-flavored gospel set from a family trio from Hartford, Arkansas, made up of Leon and Myra Brassfield and their daughter Wanda. I was drawn to this album by the wealth of original material, as well as covers of songs by a couple of Hemphill family songs, and one by Dottie Rambo, but mostly because of the musical backing by studio owner Ben Jack and his studio crew, who also did a lot of country and R&B recordings, most notably working with Jerry Jaye and Darlene Battles. The studio band included Terry Anderson (lead guitar), Ben Jack (steel guitar), Wanda Johnson (piano) and Bill Jones (drums), a compact group than provides some surprisingly rich country textures throughout the album... The vocals are a little variable, but overall I'd call this one a keeper.

Brethren "Whistlin' With The Wind" (Moonsound Records, 1979) (LP)
As you might imagine from the name, Brethren were indeed a gospel group, more specifically Lutherans. This Minneapolis, Minnesota band was founded in 1974 and played a mix of Christian and secular country. The main members are the trio of Bob Hoch (lead vocals), Doug Larson (bass, led vocals) and John Williams (guitar, banjo, lead vocals) with backing by a band called Wildwood, which included Jim Plattes on fiddle and pedal steel/banjo player Jeff Dayton... The covers include "Mr. Bojangles," Carole King's "You've Got A Friend," Jimmie Driftwood's "Battle Of New Orleans," as well as some original material, most of it written by Williams.

Barbie Breuer-Sipple "Journey To Jesus" (Bond Records, 1971) (LP)

Barbie Breuer-Sipple "Barbara Sings For Life" (Lazarus Productions, 1973) (LP)
(Produced by Tony Papa)

Bill & Linda Bristow "Thank You For The Valley" (Calvary Records, 197--?) (LP)
Though recording for the Fresno-based Calvary label, this husband-wife duo seems to have been from Oxnard, California, further down south on the outskirts of Los Angeles. Their church pastor, Ed Rothenberger, wrote glowing liner notes, which mention Bill Bristow working as the "minister of music" at Oxnard Baptist Temple, although Mrs. Bristow is the real star of the show. The album opens on a fairly twangy country note, but soon her more folkie vocal style takes center stage, and she's almost a dead ringer for Joan Baez, with a bit of Judy Collins in their as well. Not my cup of tea, but she was a pretty solid vocalist, and the song selection is strong as well (including a version of Ronnie Hinson's then-new "Lighthouse.") The lack of twang is a little disappointing, though, given that their backing band included legendary LA guitar picker Don Lee, as well as bass player Gene Staggs, who I believe was originally part of the country-oriented Modesto/Stockton gospel scene.

The Brothers & Sisters "Would You Love Your Brother More?" (Selah Records, 19--?) (LP)
(Produced by Gary Duggan & Hadley Hockersmith)
Though the Benson Sound studios in Oklahoma City sometimes produced some twangy country gospel, this album was not one of those blessed moments. This low-key ensemble from Marietta, Oklahoma are harmless enough (and terribly sincere) but the music is basically just piano backing a six-person vocal group, with nary a trace of twang, despite covers of tunes by Alfred E. Brumley, The Hinsons ("The Lighthouse," of course) and the Rambos. There appear to be three originals by Gerald Gentry (1917-2013) the oldest member of the group, a pharmacist by trade who owned his own stores and was a successful local businessman, with shops in Caddo and Claremore. He may have also been the group's pianist, and according to his obituary, recorded three albums total with The Brothers & Sisters. His songs on this album include "Lord, When I Speak Your Name," "Walking On The King's Highway," and the title track, "Would You Love Your Brother More?"

The Roger Brown Family "...With The Nashville Sound" (RMC Records, 19--?) (LP)

Sue Brown "...Sings The Gospel" (Chapel Tone Recordings, 19--?) (LP)
(Produced by Stan Anderson & Herb Kallman)
Originally from Dixon, California, in the Great Central Valley, Sue Brown started her career as a secular country singer, performing at local venues in northern and central California, and even hosted a television show in Sacramento. When her friend, gospel singer Polly Johnson died in a plane crash on May 7, 1964, Brown was deeply shaken and converted to a career as a gospel singer. She retained her rural roots, though, as heard on this fine album, recorded with The Christian Troubadours, a twangy band from Stockton that had a more-country sound than most gospel groups of the era. The opening notes of this album feature pedal steel and electric guitar, hinting at the more robust sound of West Coast country, and although the twang is mostly subdued, it's there. Brown had a fine voice, with clear country roots -- there are strong hints of Kitty Wells in her delivery, tempered by more modern influences such as Skeeter Davis and Patsy Cline. Students of country-gospel and southern gospel will find a lot to enjoy about this album, in particular the wealth of original material, including five songs composed by Chapel Tone owner Herb Kallman, another influential figure in the Central Valley gospel scene. One of these songs, "Don't Turn Jesus Away," is also co-credited to Sue Brown. The repertoire also includes classics by Albert Brumley, Thomas A. Dorsey, Mylon LeFevre and Ira Stanphill's "Mansion Over The Hill." Sue Brown (later Sue Brown Osbourn) performed tirelessly throughout the Valley, living in Lodi and Fresno, where she worked with legendary studio engineer Stan Anderson; later she retired to live in Henryetta, Oklahoma, where she continued to perform well into the 21st Century.

Sue Brown "I've Been Changed" (Chapel Tone Recordings, 19--?) (LP)
(Produced by Sue Brown & Herb Kallman)
Another understated but solidly country set from Sue Brown, with calm, pleasantly twangy backing by unnamed members of the Stockton-based Countrymen. Sue Brown's country gal vocals hit a nice balance between Kitty Wells' Depression-era nasality and the smoother, pop-friendly style of Skeeter Davis and other contemporary Nashville gals. As on her previous album, there's a bunch of original material, notably four songs from producer Herb Kallman. In addition to the Countrymen, Brown thanks several Fresno-based musicians -- Tom Force, Chuck Mambrini, Jim Shaw and Cubbie Slayton -- for backing her on three tracks. (Unfortunately she doesn't specify which tracks these were, but they were probably those that featured Jim Shaw on piano, including album closers "He's Already Done What He Said He Would Do" and Kallman's "Jesus Is My Destiny.") A heavy lineup of talent from the Central Valley/Bakersfield scene, playing it sweet and simple on this laid-back but deeply rural country gospel album.

Sue Brown "Hold On To My Hand" (Sound Of Ministry Recordings, 19--?) (LP)
(Produced by Dale Hooper & Roy Ward)
This set was produced at Roy Ward's studio in Richmond, CA, just north of Berkeley and Oakland... The musicians include pedal steel player Jim Grey, John Moyers (keyboards), Paul Perryman (lead guitar), Dave Raffanelli (percussion), and John Schoger on bass. Not sure of the date, but it looks like a mid- to late-'Seventies kinda thing.

The Browns "Songs From The Little Brown Church Hymnal" (RCA Victor, 1961) (LP)

The Browns "Old Country Church" (RCA Victor, 1967) (LP)

The Browns "Family Bible" (Step One Records, 1996)

The Brown's Ferry Four "16 Greatest Hits" (Starday Records, 1968)

The Brown's Ferry Four "16 Sacred Songs, v.1" (King Records, 19--?)

The Brown's Ferry Four "Sacred Songs, v.2" (King Records, 19--?)

The Brown's Ferry Four "Rocking On The Waves" (King Records, 19--?)

The Brown's Ferry Four "Fine Singing Of Wonderful Sacred Country Songs: 24 Songs" (Gusto Records, 2008)

Bob Broxterman "A Gift Worth More Than Gold" (Exceptions Studios, 1979) (LP)
(Produced by Martin Hale, Mike Kennedy & Randy Wills)
Mellow, soft-edged Christian folk-pop from Topeka, Kansas... Mr. Broxterman is very much in the painfully sincere "wimpy folk" tradition and several songs may have been meant as children's music, while the rest of the record has a James Taylor-ish feel, or perhaps late-vintage Tom Paxton. Not really my cup of tea, although there is at least one near-miss novelty song, "Darling Darlene And Her Disco Machine Bar And Grill," which might appeal to fans of 'Seventies kitsch. I'm curious about Exceptions Studios, in Topeka, where this was recorded... Also worth noting is the banjo player Dave English, who I believe recorded an acoustic album of his own around the same time.

Ed Bruce "In Jesus' Eyes" (Varese Sarabande, 2010)

Albert E. Brumley, Jr. "Legendary Gospel Favorites" (Memory Valley Records, 1986-?) (LP)
(Produced by Vic Clay & Jackson Brumley)
The son -- or rather, sons -- of country gospel pioneer Albert E. Brumley pay homage to their father's work. The senior Mr. Brumley (1905-1977) wrote ebullient spiritual classics such as "I'll Fly Away" and "Turn Your Radio On," along with hundreds of other songs that remain bedrocks of the American gospel canon. Albert E. Junior sings lead on these two albums, recorded at the same time with a crew that included producer Vic Clay on lead guitar, Bruce Watkins (banjo, fiddle, mandolin), Terry McMillan (drums, harmonica), and of course his brother, Tom Brumley, an influential steel guitarist known for his work with Buck Owens and country-rock pioneer Rick Nelson. Several pianists also sat in on the sessions, most intriguingly Tennessee's then-governor Lamar Alexander(!), who tickled the ivories on both albums. To be honest, it's a little snoozy Although their father was born in Oklahoma, the Brumley family had relocated to Missouri by the time the boys were born, though of course Nashville beckoned when the time came to make these records...

Albert E. Brumley, Jr. "Sentimental Favorites" (Memory Valley Records, 1986-?) (LP)
(Produced by Vic Clay & Jackson Brumley)
This album includes the same backing band as above

Brush Arbor - see artist discography

The Brush Arbors "Old Brush Arbor" (M&M Gospel Studio, 197-?) (LP)
(Produced by Wade Mitchell)
Not to be confused with the pioneering country-rock gospel group, Brush Arbor, this amateur band features guys from two families in Jamestown, Tennessee, the Roysdens and the Winninghams, playing a set of straight-up gospel oldies. The musicians include some country touches, with Perry Winningham on banjo, and lead guitar by Harold Hatfield. This privately released album also features a couple of original songs, "Are You Building A Temple In Heaven," by Perry Winningham, and "Patience From Above," by Patricia Roysden.

Kirby Buchanan "Songs Of Faith And Inspiration" (Starday Records, 1959) (LP)
(Produced by Selby Coffeen)

Jimmy Buffett "High Cumberland Jubilee" (Barnaby Records, 1971)
Well, okay, this isn't really a gospel album... Hardly. Rather, it's the second album by the future King Of The Parrotheads, back when he was still keepin' it country. But I have always loved his faux old-timey revival tune, "God Don't Own A Car," and I also think he was probably right on that point as well. It's a cute song.

Deanna Bullock "Here I Am Jesus" (Jordan Records, 1974-?) (LP)
(Produced by Dennis Hensley)
Another set of earthy, rural gospel from this Kentucky gal. She's backed on this album by pianist Danny Burton, Dennis Herrill (bass), Chuck Rich (dobro and steel guitar), Tim Short (drums), and Junior Spivey on guitar, as well as fiddler Junior Bennett, who provides string arrangements. The liner notes say this was her first album, also noting that she'd found the Lord in 1968, and was "filled with the Holy Ghost" the following year, around Thanksgiving, 1969. Not quite sure when this came out, but folks say it's from 1974, though it looks like it could be earlier -- very simple graphics. The back cover also gives a home address in Fairfield, Ohio. The set includes a Bill Gaither song, one from the Hemphills, and even one by Brenda Joyce, "Here I Am Jesus," though apparently nothing composed by Ms. Bullock herself, as on other albums.

Deanna Bullock "Variety" (Jordan Recording Studios, 19--?) (LP)
(Produced by Dennis Hensley)
Heartfelt gospel from a country gal who first played the Renfro Valley Barn Dance back in 1961, a venue right next to where she grew up, in Mount Vernon, Kentucky. She was a regular performer at Renfro Valley for many years before she met and married a guitar player by the name of Bill Bullock. They later formed an evangelical ministry, and at some point settled down in Springdale, Ohio, a northern suburb of Cincinnati which is where they were living when they cut this disc. Bill Bullock plays lead guitar on several tracks, as does Junior Spivey, other musicians include pianist Dumpy Rice, who worked on a lot of gospel sessions, and Chris Lee playing piano on several other tracks. The song list includes a couple by Reba Rambo, an Easter Brothers tune, and two originals by Deanna Bullock, "Love Of God" and "Splittin' Up The Eastern Sky."

Deanna Bullock "When Prayin' Turns To Praisin' " (Jordan Records, 1974-?) (LP)

Deanna Bullock "One Of These Days It'll All Be Over" (Derby Town Records, 1978) (LP)
(Produced by Kenny Sowder)
Although the music drifts into slightly by-the-numbers southern gospel-meets-countrypolitan territory, Bullock's voice is super-appealing, and really brings these songs to life. She has a pure rural tone strongly reminiscent of Loretta Lynn or Dottie Rambo that will make hard-country twangfans sit up and take notice. Also, what power and projection! Seems like she really could have made it as a commercial country singer -- which makes her devotion to religious music even more meaningful. The title track was written by Deanna Bullock, though the album also includes songs by modern country-gospel icons such as The Rambos, The Hemphills, Tim Spenser and Ronnie Hinson.

The Burchett Brothers "The Gift Of Life" (Vision Recording Studio, 19--?) (LP)
(Produced by Bill Cassiolari)
Brothers Danni Burchett (age 19) and Greg Burchett (14) were the sons of an evangelical preacher, R. L. Burchett, from Turlock, California. This album was issued on the independently-owned Vision Records, an evangelical label that specialized in recording Central Valley locals. This looks early '70s, not entirely country, though the liners mention Greg's "soft, western flair," so there oughta be some twang in there.

The Burleson Family "Lately" (Ramblin' Records, 1986) (LP)
(Produced by Gene Huddleston)

The Burruss Family & Jimmy Widner "Life's Railway To Heaven" (Western Gospel Messengers, 1977) (LP)
(Produced by Bill Cassiolari)

The Burton Family "Homecoming Day" (Praise Records, 1965) (LP)
This family gospel band was led by guitarist Grady Burton, father of picker Grady Burton Jr. and pianist Dan Burton, who both did extensive studio work playing on records by other regional performers... Danny Burton went on to become a producer-engineer and studio musician for Rite Records in Cincinnati, the same outfit where the Burton Family recorded many of their own albums. This appears to be their first LP, although they also recorded several singles dating back to around 1960, both as a family band and as solo performers.

The Burton Family "Gospel Singing... Burton Family Style" (Burton Family Production, 1969) (LP)

The Burton Family "In Harmony" (Burton Family Production, 1970) (LP)

The Burtons "Travlin' On With The Burtons" (Burton Family Production, 1971) (LP)

The Burtons "Comin' On Strong" (Burton Family Records, 1972) (LP)
(Produced by Phil Burkhardt)

The Burtons "Stepping On The Clouds" (Golden Shield Records, 1975) (LP)
(Produced by Phil Burkhardt)

The Busby Brothers "Stained Glass Bluegrass" (Webco Records, 1987)
The Busby Brothers (actually the Busbice family) included Bob, Buzz, John, and Wayne Busby, augmented here with a few other bluegrassers... Originally hailing from Louisiana, they also played plenty of secular material, though clearly they knew their way around a good bluegrass hymn. It's worth noting that Wayne Busby also recorded under the name Red McCoy, producing two albums worth of mostly-gospel material in the early 1960s, a stint that included his notorious rock-flavored Cold War novelty number, "Rock And Roll Atom." (aka Red McCoy)

Frankie Bush "I'd Rather Live In Dreams" (Bush Records, 1978) (LP)
(Produced by Larry McCoy & Bernie Vaughn)
Originally from Minnesota, singer Frankie Bush (1955-2009) had a near-lifelong struggle with crippling scoliosis, which he developed in childhood, after doctors missed early warning signs. Surmounting his disabilities, Bush forged a career in music, first in secular country and then in gospel. He met the legendary Johnny Cash in 1975 when Cash invited him to perform with him at a show in the Twin Cities; the two hit it off, and Bush infrequently appeared with the Cash road show for several years thereafter. In the '80s, he devoted himself to religious music, and joined the Rev. Billy Graham's crusades. I believe this was his first album, recorded with top Nashville session players such as Greg Galbraith, Sonny Garrish, as well as the Cates Sisters as backup singers... Johnny Cash chimes in with a brief liner note testimonial.

Frankie Bush "Please Wait For Me" (Burning Bush Records, 19--?) (LP)
(Produced by Gary Peterson)

Carl Butler & Pearl "Avenue Of Prayer" (Columbia Records, 1967) (LP)

Carl Butler & Pearl "Watch And Pray" (Columbia Harmony, 1972) (LP)
This is a reissue of the Avenue Of Prayer album, with two less tracks than on the original release.

Carol Jo Butler "Giving Glory To Him" (Family Records, 19--?) (LP)
(Produced by Dan Duncan & Gene Breeden)

The Byrd Family "The Homecoming Day" (Grand Records, 19--?) (LP)
(Produced by Darvin Byrd)
Led by Darvin Bealon "Papa" Byrd (1922-2020), the Byrd Family gospel group was founded in 1958 and toured and recorded widely over the decades, with a home base in Augusta, Georgia. They also hosted their own television shows on stations WFXG and WJBF (in Augusta) as well as WBIR (Knoxville) eventually reaching a much larger audience when they were syndicated nationwide. This may have been the group's first album, featuring a lineup that included Darvin Byrd and his wife Ethel Mosley Byrd, their son Randy and a fourth musician identified as Emery (who may have been a non-family member). There's no date on this disc, but Mrs. Byrd passed away in 1972, so this was recorded sometime before that, possibly in the late 1960s. Mr. Byrd was a driving force in the band, which showcased an earthy blend of styles -- bluegrass and country gospel with a hint of throwback-y, primitive Baptist singing, and a clear affinity for the smooth, sweet Louvin Brothers sound. Randy Byrd was also a pivotal member of the group, a songwriter and multi-instrumentalist who contributed numerous original songs to the group's repertoire and went on to found his own evangelical ministry. This album includes some of his originals, along with tunes from Charlie McCoy, Bill Monroe, Carl Story and others, including a version of "Where Will You Build," from the Louvin Brothers, which closes the album out. An influential regional performer, Papa Byrd was inducted into the Branson-based Country Gospel Music Hall of Fame. According to his obituary, he was the grandfather of "Little Windy Johnson," who may have been the same as the southern gospel bandleader based in Florida, though I'm not 100% sure that it's the same guy... (Turns out there are a lot of Windy Johnsons in the world... far more than you'd expect!)

The Byrd Family "...Sings Pass Me Not" (Grand Records, 1979-?) (LP)
(Produced by Darvin Byrd)
This album was also released under the title The Byrd Family Sings Crying Holy Unto The Lord, with a different album cover, but the same catalog number... One edition identifies the band as being "from Knoxville, Tennessee," but that was a temporary gig, with their real home being Augusta, Georgia and environs.

Darvin Byrd & The Byrd Family "Country Gospel" (Grand Records, 19--?) (LP)
(Produced by Darvin Byrd)

The Byrd Family "Million Years In Glory" (Grand Records, 19--?) (LP)
Like some of their other records, this album came out in two different editions, both as Million Years In Glory and as America! Where Do You Stand With God. The title track for the "America" version comes from an original patriotic gospel song written by Randy Byrd, who once again plays a slew of instruments (banjo, dobro, fiddle and guitar), backed by his dad playing rhythm guitar, as well as D. J. Fontana on drums, pianist David Reese, and Floyd West on bass. I'm sure there must be a few other Byrd Family records out there, though so far they've eluded me... If you've got any info to share, feel free to get in touch!

Hick Music Index