Holiday Music | Other Country Styles

Dailey & Vincent "Singing From The Heart" (Rounder Records, 2010)
A sweet, sweet, sweet all-gospel set. Doyle Lawson, watch out.

Dailey & Vincent "The Gospel Side Of Dailey & Vincent" (Cracker Barrel Records, 2012)
(Produced by Jamie Dailey & Darren Vincent)
An excellent gospel collection, the second by the harmony duo of Jamie Dailey and Darren Vincent, who have become luminaries in the world of traditional bluegrass gospel singing. On this set they move away from their strictly truegrass roots and sing some more country-oriented material, as well as a few songs that could be considered part of the pop-oriented "contemporary Christian" sound, as well as a few jaunty jubilee songs in the style of the Blackwood Brothers. The singing and musicianship is uniformly sweet... There are a couple of tracks I'd skip, but most of it is quite nice. Includes a particularly sweet version of "Family Bible," as well as a good, obscure Buck Owens oldie, "Eternal Vacation." Recommended!

The Daileys/The Dailey Trio "...Sings I Know Who Holds Tomorrow" (1968-?) (LP)
A mystery disc spotlighting an intensely rural gospel group of unknown origin, singing roosty versions of southern gospel standards by Bill Gaither, The Rambos, and of course Ira Stanphill, who penned the title track back in the early 'Fifties. Presumably a family band, the Daileys were led by a husky-voiced country gal roughly along the lines of Melba Montgomery, buoyed by some nice Chet Atkins-y guitar picking, and pretty rollicking, chunky arrangements. Not super-professional, but I like that. The back cover was blank, none of the musicians are identified by name, and the inner labels give no indication of where or when this was made, though I'd imagine it was sometime in the 1960s. [Note: the group is called the Dailey Trio on the inner label, and simply The Daileys on the front cover.]

The Dailey Trio "Jesus Use Me" (Baldwin Sound Productions, 1968-?) (LP)
Assuming this was the same group, the Dailey Trio seems to have been from Columbus Ohio, and in this edition included Ed Dailey on piano, Regina Dailey (organ and piano), Yvonne Johnson (organ), Carl Moore (guitar) and Ralph Stevenson on bass. This album differs from the one above in its reliance on piano and organ, and to an extent in its repertoire. There's still some Bill Gaither material, as well as entries from Gaither's mainstream southern gospel peers such as Happy Goodman and the Goss Family, but also one original, Regina Dailey's, "Why For Me," as well as a couple mysteriously credited to Mosheco (with no first name): "What A Wonderful Day" and "You Must Make Up Your Mind Today." I was unable to find a direct link to these songs, but I assume this was Joe Mosheco, longtime piano player for the Imperials gospel quartet.

Daniel "Winning The West" (Ministry Resource Center, 1984) (LP)
(Produced by Al Perkins & Joe Bellamy)
One of the many "Jesus freak" country gospel albums produced by erstwhile Flying Burrito Brother steel guitarist Al Perkins, along with Byrds co-founder Chris Hillman. They both play on this lively, bluegrass-flavored album, backing born-again evangelist Daniel McClenaghan (1947-2015) along with a slew of talented Southern California pickers. The music is solid and well-produced, though the more secular-minded among us may find some of Daniel's religious doctrine puzzling, notably on the anti-Darwin, there's-no-such-thing-as-evolution anthem, "Disputation Waltz." Other songs, such as "Carnal Pleasures?" are a little more in the standard Christian country ouvre, describing how the life of seeking self-gratification can leave you feeling hollow and unsatisfied. Also in the studio, though taking a more minor role, is Hillman protege Dan McCorison, who sings backup, as well as bassist Bill Bryson, banjo plunker Don Gerber, and David Mansfield on fiddle. McClenaghan comes off as a little too intense, but the musical end is pretty nice. McClenaghan recorded at least a couple of other albums, and re-released this one as a CD, using his full name. McClenaghan grew up in Anaheim, and recorded this album in the Los Angeles suburb of Arleta, CA, though he later moved up to Bishop, CA, in the high Sierras, where he worked as a local pastor until passing away in 2015.

Jay Daniel & Jo Ann Daniel "Who Am I?" (Vision Records, 197--?) (LP)
A truly dreary gospel album from a husband-wife evangelical team from Sacramento, California. This disc is primarily of interest because it came out on the Vision Records label, a Central Valley indie that issued dozens of mostly-twangy albums by local Christian artists. This album is unusual among Vision releases for its slick sounding production, the plodding musicianship, and the absence of traditional country instruments such as mandolin, electric guitar, etc. Also, it's a very sluggish album, with almost all the songs delivered at a glacial pace, which just makes the churchy but rough vocals that much more agonizing (neither of the Daniels were compelling singers). Although there is a good steel guitar player in the mix, my guess would be the backing musicians were drawn from the Daniel's own circle, rather than the more rural-sounding Vision studio players; only on the last couple of tracks do they try to pick up the tempo and introduce a little bit of hillbilly guitar, but by then it's way too late. The musicians sounded bored with the sessions, too. Anyway, you can skip this one.

Charlie Daniels "The Door" (Sparrow Records, 1994)

Charlie Daniels "Steel Witness" (Sparrow Records, 1996)

Charlie Daniels Band "How Sweet The Sound" (Sparrow Records, 2002)

Charlie Daniels "Songs From The Longleaf Pines" (Blue Hat Records/Koch Music, 2005)

Ray Darby & Ella Darby "Soul" (Superior Sound Studios, 19--?) (LP)
(Produced by Duane Allen)

Ray Darby & Ella Darby "Ray Darby And Ella Darby" (Skylite Records, 1977) (LP)
(Produced by Joel Gentry)
If your curiosity was piqued by the front cover, which features Mr. Darby in full Native American headdress, his wife Ella draped on one arm, and his electric guitar out front and center, well, don't worry about any "cultural appropriation": according to the back cover, Ray Darby was a full-blooded Kiowa, so he gets to wear whatever he wants. You might, however, be a little disturbed by the patronizing liner notes, which opine: "A new breed of Indian is thundering out of the west... This Indian brings joy rather than terror... brings happiness rather than apprehension... Ray and Ella Darby are world changers because they are personally acquainted with the Lord of Lords..." Yeesh. Well, setting aside all the John Wayne stuff, this is a decent gospel set by a couple from Lawton, Oklahoma. Indeed, it's perhaps a bit more vigorous than your average southern gospel offering -- the liners refer obliquely to "I'm A World Changer," one of two tracks credited to the Darbys, and a real zinger of 'Seventies gospel kitsch. The amped-up rock-pop arrangement showcases his guitar work (okay) and his robust, manly vocals, which land solidly in the Tom Jones/Mac Davis-y, chest-hair-and-gold-chain style of me-decade pop-soul emoting. It's not bad! Speaking of Mac Davis, they also cover his "Stop And Smell The Roses," another one of those crypto-religious pop tunes that were designed to sneak a little inspiration into the pop charts, as well as Kris Kristofferson's "Why Me Lord," and the high-concept, egalitarian "What Color Is A Soul," which closes the album out. There's mention of the Darby's "soon" getting their own TV show... dunno if that happened, but their records were actually kinda fun.

The Ray Darby Affair "America's Standing Tall Again" (Skylite Records, 19--?) (LP)
(Produced by Joel Gentry)
A partly semi-secular gospel album, with most tracks co-written by Ray Darby and Ella Darby; also one by Ray Hildebrand... Great album art, too, with a groovy "band" name that reflects the same hip swagger as their matching salmon-colored, sequin-spangled outfits, and that rad turquoise necklace. Indeed, the Skylite gospel label even felt the need to distinguish this disc from their usual southern gospel/contemporary Christian fare by creating a "Skylight Country" imprint. Alas, no info on the backing musicians here, either.

Donna Darlene & Shotsie Jackson "Mom And Dad's Favorite Hymns" (Steelradio Records, 2012) (LP)
Singer Donna Darlene and her husband, legendary steel-and-dobro player Shot Jackson (1920-1991) began working together in the late 1960s, holding down gigs in New England and Canada, and recording several albums, mostly of secular material. This gospel set was recorded years later with their daughter, Shotsie Jackson, who sang with Darlene after Jackson passed away in 1991.

Ike Davis "Sweet Reality" (Superior Records, 1971-?) (LP)
(Produced by Bob Cline & Paul De La Torre)
A super-snoozy album from a popular Texas southern gospel star and noteworthy composer... Davis is one of those Lucy-and-the-football artists that I keep forgetting I've listened to and definitely disliked, but still check out every once in a while. Personally I am not a fan of the stuffy-sounding smooth pop-baritone vocal style adopted by faded country stars such as Jimmie Davis and Ernie Ford, which Ike Davis emulated in his own work. It's just super-square, and dull. What caught my eye here was the presence of Texas twangster Marvin Montgomery, who helped with the arrangements (and probably provided a few of his Fort Worth picker pals to play on the couple of tracks that are halfway country-sounding...) Mostly, though, this album is defined by a series of musically inert, blandly orchestrated, piano-led tracks. Really nothing here to get too excited about.

Ike Davis "Better Than Ever" (Superior Records, 19--?) (LP)
(Produced by Duane Allen)
This is one of those albums that I had to pick up because of the musicians listed on the back... and quite a lineup it was! First off, future Nashville heavyweight Tony Brown plays piano -- he got his start in southern gospel, and later played in Elvis Presley's TCB Band -- but other hotshots and notables are on board, including Don Breland on bass, Joe Edwards (lead guitar), Mark Ellerbee (drums), Dave Mathes (rhythm guitar) and John Rich playing steel guitar... They provide a pretty solid, modern-sounding country backing though as it turns out they can't elevate Ike Davis out of his habitually snoozy vocal style, which is kind of in the same wheelhouse as late-vintage Ernie Ford. Nothing on here that actually got me excited, though the musical backing is pretty strong, and undeniably country. It's just that Davis isn't a very dynamic singer; too stuffy and restrained for me.

Jimmie Davis -- see artist discography

Skeeter Davis "Hand In Hand With Jesus" (RCA Victor, 1967) (LP)
Absolutely wonderful -- one of the all-time best Skeeter Davis best albums, and one of the best country gospel records you're ever likely to hear. This is due to the intersection of a couple of pleasant factors, particularly the fact that neither she nor the RCA producers felt the need to push things musically, as they did on her more "pop" material. Thus, Skeeter's easygoing sincerity and matter-of-fact affection for the material is perfectly matched by the simple, relaxed arrangements. Nice use of her whole multi-tracked vocal routine, too.

The Davises "I Want To Be Ready" (Major Recording Company, 197--?) (LP)
(Produced by John Major)
A family band from Galax, Virginia...

The Davises "Pilot Me" (Major Recording Company, 197--?) (LP)
(Produced by John Major)

The Davises "...Sing Country And Gospel" (Major Recording Company, 197--?) (LP)
(Produced by John Major)

Kevin Deal "There Goes The Neighborhood" (Blindfellow Records, 2013)
(Produced by Lloyd Maines)
Looks like Kevin Deal's done got religion... This is a quirky but thoughtful and sincere alt-country gospel album, filled with all-original material (and one rugged, unruly cover of "Amazing Grace") as this indie-twang veteran joins company with folks such as Steve Earle and Eliza Gilkyson among the ranks of indie-Americana folkies who, in their middle age, have chosen to take a closer look at their mortality and their place in the presence of the eternal... whatever that may be. In the often-irreverent, rowdy world of twangcore, religious themes are usually played for laughs, as part of the whole white-trash stereotype thing that still plagues the genre (along with locusts, frogs and songs about stripper girlfriends...) It's much to Deal's credit that he takes it seriously, and is bold enough to put himself out there and express his inner spiritual yearnings, despite the likelihood that not many fans will want to hear about it... Nonetheless, he summons himself to stand humbly before his maker, and to ponder the meaning of existence and the small (and large) roles that humans play in the universe. Deal is more overtly Jesus-y and biblical than other Americana old-timers exploring these themes, but he comes at it from a modern, non-traditional perspective. One of the best songs on the album is "Just Another Poet," which starts with him remembering how once when he was a kid, he wrote a fan letter to Neil Young, and even though he never got a reply he "never stopped believing," succinctly connecting his faith with his art, serenely examining the romantic self-mytholizations of rock'n'roll dreamers. It's a mature look back at life -- and ahead as well -- and not the sort of stuff we often hear on records these days. This album won't be for everyone, but is does have meaning and real spiritual heft, and will probably resonate with listeners who have come to a similar point in their lives. Recommended, if you're in the mood.

Jimmy Dean "Hour Of Prayer" (Columbia Records, 1957) (LP)

Jimmy Dean "Hymns By Jimmy Dean" (Columbia Records, 1960) (LP)

Jimmy Dean "Jimmy Dean's Christmas Card" (Columbia Records, 1965)

Jimmy Dean "Most Richly Blessed" (RCA Victor, 1967) (LP)

Jimmy Dean "Inspirational Songs" (Curb Records, 1998)

Wayne Delk "Cross Country" (Impact Evangelism, 197--?) (LP)
Though released on a Texas label this appears to be an Oklahoma band, with Mr. Delk backed by a vocal group called The Stone Sisters of Oklahoma, and session players who included Lavern Berry playing bass, Jerry Hall (steel guitar), Ken Mitchell (drums), Ray Owens (piano), and David Smith on guitar. Not sure of the date, though.

Walt Denny "Twelve All Original Country And Gospel Songs" (Breeze Records, 1975) (LP)
(Produced by J. P. Bowman)
A Kentucky native who moved to the Midwest as a teen, singer Walt Denny was a self-described hardcore alcoholic and born-again Christian who tried to make it big in music in the 1940s and '50s and found himself down and out and literally drunk in the gutter, at the mercy of his addiction. Back in '56 he got religion and turned his life around, and though he was an ardent Christian, this album is divided between secular songs (on Side One) and religious material (on Side Two) all of which Denny wrote himself. Backing him is a small band that included Frazier Moss on fiddle and Elton Davis on dobro, along with some other local, rural Tennessee pickers from outside of Nashville's orbit. (Frazier Moss also recorded a couple of albums of his own, reviewed on this site as well...) Definitely a little more rough-edged and more country-oriented than your standard-issue Southern Gospel album!

Joel DeNeui "A Touch Of Country" (Monarch Records, 196--?) (LP)
(Produced by Dean Brown)

John Denver "Rocky Mountain Christmas" (RCA, 1975)
A very conventional Christmas set, with Denver singing his heart out on numerous standards such as "Silver Bells," "Rudolph The Red-Nosed Reindeer" and "Away In A Manger," as well as a couple of country-specific offerings such as a cover of "Please Daddy, Don't Get Drunk For Christmas" and "Christmas For Cowboys," written by a member of Denver's backing band. Denver himself adds "Aspenglow" to the holiday canon, a flowery folk-pop offering typical of his albums of the time. He also delves deep into some older, fairly obscure English carols, including some that date back as far as the 1500s. If you're one of those folks who couldn't stand John Denver when he was riding high in the charts, this album will not win you over or change your opinion of his work... But if you're a fan, or just someone looking for a soft, elegant, super-mellow holiday set, this just might fill the bill. A digital-era reissue eve added some bonus tracks! (For other country Christmas records, see my Hillbilly Holiday section.)

John Denver & The Muppets "A Christmas Together" (RCA, 1979)

John Denver "Christmas Like A Lullaby" (Windstar Records, 1990)
This was pretty late in the game for old John Boy -- his voice had thickened with age, and may not be instantly recognizable, even to his devoted fans. The song arrangements are predictable florid, but I gotta say... His heart seems in the right place, and if I were really searching for this sort of softcore holiday pop, this album would be high on my list. They could have gone a little lighter on the tinkling wind chimes, though.

John Denver "Christmas In Concert" (RCA, 2001)

Diamond Rio "A Diamond Rio Christmas: The Star Still Shines" (Word Records, 2007)

Diamond Rio "The Reason" (Word Records, 2009)
Following their Christmas album of a couple of years earlier, Diamond Rio delves into "Contemporary Christian" music and Southern Gospel, applying the band's harmony singing to a religious message, with a less country, more pop-oriented sound.

Little Jimmy Dickens "The Old Country Church" (Columbia Records, 1954)

Doug Dillard "Heaven" (Flying Fish Records, 1979)

The Dixie Melody Boys "Too Much Thunder" (LifeLine/Benson Records, 1984) (LP)
(Produced by Jimmy Edmonds & Wayne Hilton)
A glossy but mostly substantive country gospel set, with a musical feel that's very much anchored in the slick, high-tech production style of the contemporary early 'Eighties Top Forty country scene. Recorded at Granite City Studios in Mount Airy, North Carolina, this presents an interesting blend, perhaps, of the barbershop-ish vocals of the Oak Ridge Boys, and the thinner, more folk-flavored Contemporary Christian sound. It's not my preferred brand of country gospel, but it's easy on the ears -- not super-cloying and they don't go off on any embarrassing vocal showboating. The group included several industry pros: Steve Easter (son of one of the Easter Brothers) plays steel guitar, along with Roger Fortner (bass), Steve Kirkman (drums), Gary Prim (keyboards and synthesizer), Mitch Snow (harmonica), and studio pro Bruce Watkins on fiddle and guitar. This wasn't a keeper for me, but it might be for you.

The Dixiemen "Sing Gospel" (Tune Records, 1971) (LP)
A swell set of traditional melodic truegrass gospel, sweet, soulful stuff with straightforward harmony vocals in the tradition of the Stanley Brothers -- think of the 1980's Bluegrass Band albums featuring Tony Rice and his pals, just with a slightly more rugged feel. The group featured fiddler James Bryan (on bass vocals), guitarist Jake Landers (baritone and lead vocals), bassist Les Smith (lead and tenor) and banjo-pickin' bandleader Rual Yarbrough on lead and baritone vocals, with a little additional help from fiddler Byron Berline. Eight of the dozen tracks on this album were Jake Landers originals, with one, "Beyond The Stars," that was co-written with Bill Monroe. They also sing a few classics, including a fine rendition of "Over In The Gloryland." Worth noting that this was recorded at Yarbrough's studio in Muscle Shoals... a slightly different sound than what we've come to expect from that neck of the woods!

The Dominion State Quartet "If I Walk Among The Shadows" (Tri-State Recording Company, 1971-?) (LP)
A delightfully chaotic country gospel set by a vocal quartet from Vinton, Virginia, a suburb of Roanoke... The singers -- Gene Burrows (tenor), Marvin Parsons (bass), LaRell Strickland (lead) and Richard Turner (baritone) -- worked in a pretty straightforward southern gospel style, though the liner notes say they got together in October, 1970, and it doesn't sound like they had spent much time rehearsing together before they cut this record. Not that they sound bad or anything, it's just that the vocal quartet feels pretty disconnected from the country band backing them; the pickers are playing all kinds of random, noodly country curlicues that are often mixed a little too high and are a bit distracting. It's great. I love how amateurish and slapdash it sounds, even though the singers themselves seem fairly coherent. (I suppose it's even possible they recorded a separate vocal track and the guys at Tri-State Recording Company just slapped the instrumental tracks on top...) At any rate, this is a heartfelt record with a pleasantly disjointed, "real people" feel, and a healthy amount of real country twang. The backing band seem to have been locals, either from Roanoke, or from Kingsport, Tennessee, where this was recorded: Bobby All (classical guitar), Rodger Cook (rhythm guitar), Dorothy Hickman (piano), Aubrey Hilton (bass), Red Lincous (fiddle), Estel Mack (lead guitar), Jerry Staley (steel guitar), and David Turner on drums. The album was probably produced by Bobby All, who worked on numerous locals-only gospel records in the 'Seventies, and later spun up the Trail Records label from the Tri-State studio.

Bob Douglas "Fiddles Old Time Gospel Music" (197--?) (LP)
(Produced by Bill Trigg)
An old-timey fiddler from Chattanooga, Tennessee, Bob Douglas performed regionally for decades in relative obscurity, though like many traditional artists, he became better known when he was "discovered" during the 1960s folk revival. Legend has it he was the very first musician to perform live on the radio in Chattanooga, back in the 1920s and he was the first bandleader to give The Louvin Brothers a professional music gig. Douglas was a championship fiddler who took the Tennessee Valley Fiddle King title in 1969-70, and made this commemorative album, backed by some of his local pals. He plays some gospel oldies -- real chestnuts such as "Just A Closer Walk With Thee" and "Where Could I Go, But To The Lord" -- but with a full country band behind him, including piano and electric guitars. Bill Wilson plays dobro, with Dan Hatchett on banjo, and Colman Emberton playing lead.

Down Home Praise "Down Home Praise" (Marantha Music, 1983)
(Produced by Al Perkins & Joe Bellamy)
A country-rock supergroup jamming on some old bluegrass tunes and singing some gospel songs... It's a distillation of the best of the Southern California contingent of "Jesus freak" country-rockers, guys who had done quite well in the hippie-era music scene but did what many folks at the time would have considered super-uncool, namely record a bunch of Christian twangtunes. The ensemble includes five core members -- Chris Hillman, Bernie Leadon, Al Perkins, fiddler David Mansfield and bassist Jerry Scheff -- who recorded a similar album in 1985, calling themselves Ever Call Ready. They're joined by vocalist Tommy Funderburk, guitarists Steve Hill and Dan McCorison and Mel Durham on bass, on a set of surprisingly sincere gospel songs, heavy on the hymns, Southern Gospel and a few newer tunes from folks like Peter Rowan and Dan Daniels.

Pete Drake "Steel Away" (Canaan Records, 1967) (LP)
(Produced by Marvin Norcross & Chuck Seitz)
One of Nashville's preeminent pedal steel players goes on a spiritual journey with this all-gospel, mostly-instrumental set. The album's title is a pun on the gospel classic, "Steal Away," which kicks the album off, followed by standards such as "Beyond The Sunset," "How Great Thou Art," "When They Ring Those Golden Bells," and the like. Slightly more off the beaten track are Ray Pennington's "Happy Tracks," and one called "The Eyes Of Jesus," by the Hemphills, a hillbilly evangelist family whose songs are often a good sign if you're looking for gospel with twang. No mentions of the musicians backing Drake, though he ran his own studio and worked with a fairly stable lineup of musical pals... There is a credit for the Four Guys vocal group, though, who chorus their way into some of the tracks.

Dave Drennon "...Sings The Words Of Lon Hogan" (American Artists Records, 197--?) (LP)
A veteran of the Branson, Missouri "opry" scene, bandleader Dave Drennon was the first country artist to record for the Springfield-based American Artists label, which documented many of the Ozarks-area regional musicians of the 1970s. He and and his wife Dee Drennon, split off from her family's Branson revue (The Presley Mountain Music Jamboree) and started their own venue in the early 1970s, the Crossroads Auditorium in Nixa, Missouri, near Springfield. A few years later, in 1975 they pulled up stakes again and moved to the Saint Louis suburb of Eureka, where they opened a 900-seat venue called the Pine Mountain Jamboree. This album is a set of patriotic, gospel, and regional pride songs written by Lon Hogan, an old-timer from the southern end of Missouri who was in Drennon's orbit. Alonzo Vannis Hogan (1883-1981) was born in Willow Springs, Missouri, and spent his life in the heart of the Ozarks, watching the intensely rural landscape change over time. He may be best remembered as a photographer: in his youth, Hogan worked for a large local lumber company and took countless photos of the lumberyard and other local sights; later in life he opened a photography studio and met and documented numerous local residents. In the late 1970s, Mr. Hogan had earned the title of the oldest resident of Shannon County, Missouri, and was interviewed on film about his life and the changes he saw -- these interviews were preserved by the state historical society, and have also been posted on YouTube and elsewhere. His work as a songwriter is less well-known, and it's interesting that a musician such as Dave Drennon, who had commercial aspirations decided to record an album of material by such an obscure local figure. The songs include "Old Missouri," "We Americans," and "God Isn't Dead," as well as the more frivolous "Doodle Bug Rag" and the exotic "My Hawaii."

Dry Branch Fire Squad "Golgotha" (Rounder Records, 1986) (LP)
Founded in 1976, the Dry Branch Fire Squad is the brainchild of mandolinist and rural raconteur Ron Thomason... Over the years the group has been recognized as a cultural reservoir for Appalachian traditions, earning recognition from the Smithsonian Institution and various other guardians of the public good. Unfortunately, these first few albums remain out of print on CD, but with diligent effort, you may find them on vinyl out there, somewhere. This is an all-gospel outing that won a place on the Smithsonian's list of essential American recordings...about as fine an old-timey/bluegrass gospel set as you're likely to find.

Dry Branch Fire Squad "Memories That Bless And Burn" (Rounder Records, 1999)
Another all-gospel album, with craggier-than-usual vocals and somber-themed songs. On the solo numbers, Susan Thomas sounds, for all the world like good old Hazel Dickens, while the full group harmonies are quite sweet. If you like the old-fashioned bluegrass gospel style, this disc fits right in that spirit.

Dave Dunlap "My Thanks" (Deity Records, 197--?) (LP)
(Produced by Don Douglas, Jim Douglas & Don Enns)
A fairly distinctive contemporary/country gospel set by a guy from Livermore, California, recorded at an independent studio in nearby Hayward, CA, using all-local musicians. Dave Dunlap had one of those high, slightly tremulous voices often heard in the folk scene, though there's definitely a real streak of uptempo country twang here -- not in all the tracks, but in enough to make this disc noteworthy. The lineup included Dave Dunlap on lead vocals and piano, Barbra Douglas (percussion), Ron Dunagan (bass and guitar), Mark Leeper (drums), Don Qualls (guitar), Dave Robbins (steel guitar), and Joe Thorton on drums... I am curious if any of these folks played with other Bay Area country (or gospel) bands... seems quite likely. Also worth pointing out is Dunlap's ease and authenticity while tickling the ivories; he gets a little syrupy and churchy on a tune or two, but certainly redeems himself elsewhere, especially on a rollicking instrumental rendition of "Living In Canaan Now," as well as one some of his own original songs, which make up about half the album. Worth a spin!

Holly Dunn "Full Circle" (OMS Records/Holly Dunn Enterprises, 2003)
A self-released gospel album... Available through Dunn's website at www.hollydunn.com

Barry Dutton "Sing Me Back Home" (Mission Records, 1976-?) (LP)
Fairly average southern gospel by a fella from Franklin, Pennsylvania with a sedate, though not-too-stuffy baritone style reminiscent of Tennessee Ernie Ford. The unidentified backing band drifts into some reasonably country-flavored passages, including a bit of pedal steel, though overall this isn't that twangy of an album. Nothing annoying, just kind of generic. No info on the musicians or producer, alas.

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