Holiday Music | Other Country Styles

Merle Haggard "The Land Of Many Strangers" (Capitol Records, 1971) (LP)
(Produced by George Richey)
Wow... Merle really gets about as far down into the real Baptist church bedrock as you can get on this stark gospel set, recorded at the height of his fame in the early 1970s. He sings at two churches, in a prison and at a rescue mission in Nashville itself, accompanied on some tracks by the remnants of the Carter Family (Anita, Helen and Maybelle), and by the church congregations as well... In addition, there are several bit of sermons and sermon-like introductions by various pastors... This disc has a level of religious authenticity that you don't often hear on country records, particularly ones by big, famous stars. Might be a bit much for the casual listener, but gospel fans will really be impressed by the apparent depth of Merle's convictions.

Merle Haggard "Cabin In The Hills" (Relentless/Hag Records, 1999)
A swell country gospel album, with some nice pickin' that helps frame Hag's elder-statesman vocals. He sounds old and frayed around the edges, but heartfelt and sincere, and if you're open to the emotion he puts into these songs, this album can have a real payoff. About half the songs are standards like "Farther Along" and "Life's A Railway To Heaven," while most of the others are well-crafted originals written by Merle... Iris Dement, who'd become a sort of protege of Merle's, contributes "Shores Of Jordan," which is certainly an album highlight. Recommended!

Merle Haggard & Albert E. Brumley, Jr. "Two Old Friends" (Madacy Records, 2001)

Jim & Jennie (Hall) "I'm Free From Sin" (Jessup Records, 1970) (LP)
(Produced by Kearney Barton)
Straight-up old-fashioned bluegrass gospel, featuring lead vocals by the husband-wife duo of Jim Hall and Jenny Hall, along with assorted friends and relations as The Dixie Mountain Ramblers... Their son, Lynn Hall, plays bass while Tommy T. Hunter chimes in on banjo; Mr. Ed Patrick saws a bit on the fiddle and sings lead on one track, as does the group's bass vocalist, Ernest Welch. Lastly, there's Mr. Welch's son, David Welch on mandolin. Jennie Hall also recorded an album under her own name a few years later, also on Jessup Records.

Jennie Hall "He Walks Beside Me" (Jessup Records, 1971) (LP)
A "solo" set by Jennie Hall, of the Jim & Jennie bluegrass-gospel duo. Pretty much every track on here -- other than versions of "Amazing Grace" and "Lonely Journey" -- was written by either Mrs. Hall, or her husband and duet partner, Jim Hall, or co-written by the two.

John Ed Hall & The Gospel Bluegrass Boys "Peaceful Waters" (Kay Records, 19--?) (LP)
(Produced by Jack Austin)
A bunch of bluegrass old-timers from Roanoke, Virginia. The group included Jim Ed Hall on rhythm guitar, Lester Pate (banjo), Carl Ratcliff (mandolin), Raymond Martin (dobro), and James Bonham playing bass.

Loretta Hall "Precious Memories" (Sound Mill, 1980-?) (LP)
Nice, understated country gospel, recorded in Norman, Oklahoma with what looks like an all-local band: Tim Cossey on drums, Jody Dennis (banjo), Buddy Green (guitar), Norman Horner (steel guitar), Tommy Neighbors (bass), and Charlie Rail playing lead guitar. They're playing real country stuff, not forcefully twangy, but also definitely not syrupy southern gospel. Ms. Hall had a modest but pleasant voice, all the more appealing for its sincerity and distinct lack of showboating or flashiness -- she's really all about the songs, and it's nice. The repertoire draws on both traditional and contemporary sources, ranging from the Carter Family and Albert Brumley to Bill Gaither, Larry Gatlin and Dottie Rambo, as well as one of Jeannie C. Riley's gospel offerings, "Be Not Afraid." Certainly worth a spin.

Rodger Hall "When I Met The Master" (Word Records, 1966) (LP)
(Produced by Wesley Tuttle)
Gospel singer Rodger Hall found religion while serving time in a Federal penitentiary in Idaho... With help from gospel star Wesley Tuttle, Hall gained an early parole from his twenty-five year sentence, and once out in the world again, started his own musical ministry. Hall recorded several albums in the late '60s and 1970s... I'm not sure, but I think this was his first LP. Tuttle produced this album and contributes liner notes which recount how they met at a prison revival meeting, and how Hall's musical talent and devotion to service moved Tuttle to help him out. Alas, as with many Word label offerings, there's no info about the backing musicians, or a release date, although the disc was plugged in Billboard in the spring of '66, not long after Hall was paroled.

Rodger Hall "Where Do I Go From Here" (Angelus Records, 19--?) (LP)

Rodger Hall "I'm In The Right Road Now" (American Heritage Music Corporation, 1974) (LP)
(Produced by Lloyd Green)
A very nice, enjoyable country gospel album -- no frills, no fuss, decent vocals and confident backing by some unnamed studio pros, and some real country twang. I picked this one up because I noticed that Lloyd Green was the producer, and I'm pretty sure it's Green playing those sweet, fluid pedal steel licks and leading the band. The rest of the guys in the band are anyone's guess, but they did right by this non-Opry outsider, and this is a pretty strong record, packed with good material, including songs written by the Rambos, Marty Robbins and others. Hall didn't write any of the tunes, but he certainly gives them strong interpretations, with smooth, heartfelt vocals -- he's not a stunning or jaw-dropping vocalist, but he's good.

Rodger Hall & The Nashville Edition "Don't Give Up" (Ripcord Records, 1977-?) (LP)

Sammy Hall "God + Nothing = Everything" (Christian Folk Records, 1969) (LP)
A pioneer of modern, youth-oriented contemporary Christian music, singer-composer Samuel Ray Hall (1945-2013) started out playing rock and roll, but shifted into religious music at the height of the hippie era, and later became tied to California country-rock svengali Gary Paxton. Hall was in a couple of Florida garage-rock bands, notably The Mor-Loks, which cut a couple of major-label singles and the better-known Birdwatchers (from Tampa) which recorded a long string of singles from 1964-67, but never broke out beyond their regional fan base. Hall founded a new group, The Sammy Hall Singers, in 1968, with a singular focus on evangelical religious material, though he pitched his efforts towards a younger audience, projecting a hip image while weaving in elements of pop and rock. Later, working with Paxton, he would dig more deeply into country-flavored material, though it's worth mentioning that even on this early album he was tapped into the contemporary southern gospel scene -- about half the songs are his own originals, bracketed by newer tunes from Bill Gaither, Jim Hill and Dottie Rambo.

Sammy Hall "Turned On To Christ" (Christian Folk Records, 1970) (LP)
(Produced by Joel Gentry)
Far out, man!

Sammy Hall "Let's Make Tomorrow Together" (Christian Folk Records, 1971) (LP)
(Produced by Joel Gentry & Rick Horton)
Also groovy.

Sammy Hall "What It's All About" (Christian Folk Records, 1972) (LP)
(Produced by Joel Gentry & Ben Hall)
Hep, daddy-o!

Sammy Hall "All Things Are New" (Christian Folk Records, 1973) (LP)
(Produced by Joel Gentry & Ben Hall)

Sammy Hall "Redemption Draweth Nigh" (Christian Folk Records, 1973) (LP)
(Produced by Joel Gentry & Rick Horton)

Sammy Hall "Plenty Of Time" (Christian Folk Records, 1973-?) (LP)
(Produced by Joel Gentry & Rick Horton)

Sammy Hall "If Nobody Loves You, Create The Demand" (Impact Recordings, 1974) (LP)
(Produced by Gary S. Paxton & Bob MacKenzie)
Surprisingly good, surprisingly twangy countrypolitan gospel from the Gary S. Paxton-verse... Paxton wrote all the songs on here, other than a cover of Harry Chapin's "Cat's In The Cradle," and though Sammy Hall (1945-2013) wasn't the most robust or stylish singer, he was a good foil for Paxton's ambitious arrangements, and this is mostly a pretty enjoyable album. Highlights include "If You're Happy, Notify Your Face" and "We Have Become The People Our Parents Warned Us About," as well as the title track, which is a semi-secular, smiley-faced positive-thinking song, without any direct references to Jesus or God. Don't worry, though: there are plenty of overt references on the rest of the record... Also worth mention in "No Shortage," which is musically terrible, but an interesting period piece playing on the stagflation-related economic anxieties of the early 'Seventies -- there might be long gas lines, but there's no shortage of religion! Unfortunately there's no info on the backing musicians -- this was recorded in Nashville, so I suppose they may have been a bunch of usual-suspect country pros, rather than folks from Paxton's West Coast stable, such as Dennie Payne, et. al. Anyway, despite a few cloying numbers, this is worth checking out if you're coming at it from a twangfan's perspective. One of many, many albums by the late Mr. Hall.

Ted & Marge Hall "Can You Hear The Master's Voice?" (Master Records, 19--?) (LP)
The husband-wife team of Marjorie Carlson Hall and Theodore L. Hall (1935-2007) met at an evangelical music camp in Vancouver, British Columbia back in the 1950s and recorded for a Canadian label, although they were living in Moscow, Idaho at the time. This album contains about half original material, credited to Mr. Hall, along with covers of Albert E. Brumley and Hank Williams, and several songs identified as "traditional." They are backed by Rich Barnhart on rhythm guitar, Kathy Barnhart (autoharp), Bill Chalmers (bass), Bob Dalyrimple (electric lead and steel guitar), Bob Houghtaling (fiddle and guitar), Ian Joli (banjo) and Bob Taylor on piano. Mr. Hall was a lawyer by vocation and taught law at the University of Idaho, where he also helped create a support program for prisoners at the Boise State Penitentiary. The Halls were originally from the Twin Cities and moved back to Minnesota, retiring to the tiny hamlet of Cloquet, near Duluth, where they were part of a bluegrass group called the Gospel Five. According to Mr. Hall's obituary, the Halls recorded several albums, although these three are the only ones I've seen so far.

Ted & Marge Hall "The Songs We Sing: Country And Western Favorites" (Master Records, 19--?) (LP)
Although the subtitle suggests this might be a secular set, these are all gospel songs, including some recognizable standards such as "Precious Lord" and "Where Could I Go But To The Lord." No date on the disc, though this seems to be their second album.

Ted & Marge Hall "Songs That Tell A Story" (Master Records, 19--?) (LP)
An independently produced gospel album with several country covers, including Merle Haggard's "Daddy Frank," Dolly Parton's "Coat Of Many Colors," "Dust On The Bible" and "Suppertime," as well as Bob Dylan's "Blowin' In The Wind," and an equal number of originals written by the Halls. The Halls play acoustic guitar, pedal steel, banjo, bass and electric guitar, with some additional pickin' and drumming by other musicians on some of the tracks. Not sure where they were from: the Master label provides addresses in both Canada and Hollywood.

Stuart Hamblen - see artist discography

George Hamilton IV "Singin' On The Mountain" (Camden Records, 1973) (LP)
With Arthur Smith...

George Hamilton IV "Bluegrass Gospel" (Lamb & Lion Records, 1974) (LP)

George Hamilton IV "One Day At A Time" (Word Records, 1979)

George Hamilton IV "Hymns Country Style" (Word Records, 1985) (LP)
(Produced by Jon Miller & Johnnie Schinas)
This one starts out with great promise, but loses traction after a few tunes. The opening numbers are surprisingly country-flavored -- almost twangy, even! -- but the set soon devolves into the glossy, tinkly-piano-and -synths sound dominant in early '80s country, and the Contemporary Christian scene as well. A whole slew of gospel standards... "Abide With Me," "Blessed Assurance," "It Is No Secret," "Old Rugged Cross," "Tell Me The Old, Old Story," etc. While I'm totally into hearing one of my favorite country singers crooning these classics, the arrangements are mostly too drippy for me. Not a usual-suspects studio crew, though: the most notable sideman is steel player B. J. Cole, who does provide some beautiful accompaniment; wish he didn't have to compete with such cheesy keyboards, though.

George Hamilton IV "Treasures Untold" (Sundown Records, 1999)

George Hamilton IV "Valley Of Silence: Fanny Crosby Favorites" (Jasmine Records, 2000)

George Hamilton IV "Beyond The River" (Sundown Records, 2001)

George Hamilton IV "On A Blue Ridge Sunday" (Lamon Records, 2003)

Herbert Hampton Singers "We Like It Gospel" (John's Recording Studio, 197--?) (LP)
An entirely satisfying set of sweet, uncomplicated country gospel music by this band from Mount Judea, Arkansas. The songs, the sentiment, the vocals and the strong but unfussy instrumental backing all make for exactly the kind of country/southern gospel crossover record I'm looking for. The musicians seem to have been a combination of Hampton's own band and some studio ringers from the custom-press powerhouse John's Recording Studio: the lineup included bandleader Herbert Hampton on rhythm guitar, Donnie Hampton (bass), Gary Nichols (drums), Kenny Sexton (piano), Stan Taylor (lead guitar) and Bob White adding some sweet, understated pedal steel, as well as several gals (unidentified, of course) providing solid vocal harmonies. There's really nothing I can criticize about this record: the sentiments seem pure and the music is quite enjoyable and easy on the ears. And it's really, definitely country, very much stylistically in line with the sounds of the time. Might not be for everyone, but I dig it.

Herbert Hampton Singers "Singing Praise" (197--?) (LP)
(Produced by Rex Elliott & Harold Shedd)
Given the musical successes of their homegrown recordings, the Hamptons probably didn't need to travel to Nashville to record this album, but I'm sure this album sounded just fine. Herbert Hampton and Donnie Hampton are credited here, as well as lead guitar Stan Taylor, who we are informed in the liner notes had by this time married into the Hampton family, and who gives his own home address in Pelsor, Arkansas as the band's booking contact. Also on board are Music City pros such as drummer Dave Humphries, steel player Doug Jernigan, John Probst on piano and Bruce Watkins playing fiddle. I'm in. [Note: Once again, the gals were not identified, though one of them was surely Herbert Hampton's wife, Alta Lea Hampton (1929-2021), who was pictured standing next to her husband on the cover of the album above; Stan Taylor apparently became an Assembly Of God minister, and later officiated at her funeral.]

Delores Hancock "Gospel Style" (Tri-State Recording Company, 19--?) (LP)
(Produced by John Wheeler)
Wow... a girl pedal steel player? What will they think of next?? This gal from Burlington, North Carolina was the daughter of George Hancock, a singer-guitarist who taught her how to pick and bought her a pedal steel when she decided the instrument was for her. Veteran Nashville session player Jack Watkins -- a longtime member of the Tex Ritter band -- was her inspiration and became her pedal steel mentor, and also helped produce her first album. Hancock led her own band in the early 1970s and opened shows for or backed visiting artists on tour, such as Carl Smith when he came to town. Although her first self-released album from 1975 was a secular set, gradually she and her husband Randy Simmons gravitated more exclusively towards gospel material and became part of the regional Southern Gospel scene.

Richard A. Hancock "Golden Streets Of Home" (Turquoise Records, 19--?) (LP)
A genuine faith-healing, Holy Ghost tent revivalist from Lamont, California, Richard A. Hancock was admittedly not much of a musician, though he does give it a go on this ultra-DIY album, which was recorded at a studio in Bakersfield. He's accompanied by an amateur band including Belinda Jones on piano, Mike Jones (bass), William Salyards (lead guitar) and David Turk on drums, who were probably members of his ministry. As they plod along, he intones in a stuffy southern gospel baritone, though the last track on Side One is a mildly rambunctious rock-flavored rave-up (and potential camp classic) called "Holy Ghost Revival." The album's flipside is a sermon recording that might be more satisfying for those in search of kitschy giggles. He appears to have been the apostolic preacher Rev. Richard Angelo Hancock (1941-2020), a Texas native who also had family in Bakersfield, and who began evangelizing in the late 1950s, opening his own tent revival in the early 'Sixties. From a country music perspective, this one looks a lot cooler than it actually is.

Esco Hankins & Jackie "Working God's Fields" (Rite Records, 19--?) (LP)
(Produced by Rusty York)

Caroline Hansen "All Because Of God's Amazing Grace" (Ripcord Records, 197--?) (LP)
Southern gospel from way up North... I'm not sure exactly how country this album sounds, but it's on the Ripcord label, so that's good enough for me. Ms. Hansen was from Vancouver, Washington and probably sang in her local congregation, as seen in the liner note testimonial by her pastor, David Synder. No musician or producer credits, alas.

O. J. Hanssen "Blessed" (IMI Records, 2007)

Robert Hardcastle "God's Country" (Vision Records, 19--?) (LP)
(Produced by Leon Harris)

The Hardin Brothers Quartet "I'll Wear A White Robe" (True Gospel Records, 1975-?) (LP)
(Produced by Don Bradford)
Spooky, primitive church singing punctuated with plangent, Merle Travis-style guitar... There's a heavy foundation of shape-note singing heard here, though they also soar ecstatically, reminiscent of those old Depression-era recordings of Alfred G. Karnes and Albert Brumley. Fans of late-vintage Ralph Stanley would probably dig these guys. The lineup on this album includes sparse backing by Charles Hardin on lead electric guitar, backed by Alma Williams (rhythm guitar) and Maynard Williams (bass). No date on the disc, but the back cover mentions them having been performing together for twenty-five years...

Gary Harding "A Joyful Noise" (One Way Records, 197--?) (LP)
(Produced by Thomas T. Chen)
A nice understated set of folk-pop/country gospel twang, with a little bit of a Larry Groce novelty singer-songwriter vibe. This was recorded in Stockton, California, but Gary Harding actually seems to have been from National City (a border city enclave wedged between San Diego and Chula Vista) and had the kind of youthful, unpolished Steve Forbert-ish voice you'd expect to hear in a 'Seventies power-pop band, not a southern gospel group. There is definitely a twang vibe here, with some decent pedal steel, slightly iffy electric guitar and an awkward, loosey-goosey vibe that's kind of appealing, even if the songs sound more like demos than anything else. Sadly, none of the musicians are identified by name, so it's unclear if they were drawn from Stockton's Pentecostal gospel crowd, or if they were Gary Hardin's own pals from San Diego. An unusual, unique album, though... definitely worth a spin. All the songs are Gary Hardin originals.

Uncle Bob Hardy "Make A Joyful Noise" (Country Boy Records, 19--?) (LP)
(Produced by Joe Edwards & Bruce Osborn)

Uncle Bob Hardy "A Little Child Shall Lead Them" (Country Boy Records, 19--?) (LP)
(Produced by Joe Edwards & Bruce Osborn)

Uncle Bob Hardy "Ye Are The Light Of The World" (Country Boy Records, 19--?) (LP)
(Produced by Joe Edwards & Bruce Osborn)

Uncle Bob Hardy "Sharing The Good News" (Country Boy Records, 19--?) (LP)

Nancy Harmon & The Victory Voices "Yesterday, Today, Forever" (Calvary Records, 197-?) (LP)
(Produced by Lari Goss, Bill Greer & Bill Huffman)
One of several albums recorded by Nancy Harmon & The Victory Voices, a contemporary Christian band with a big, modern sound, but no real country music influences. (I picked this up because I saw a credit for steel player Tommy Dodd, but if he's on here, he was totally drowned out by the overdubbed string section. Oh, well.) Anyway, Ms. Harmon had a strong voice, but this is more in the tradition of heavily orchestrated modern pop-gospel ala Andre Crouch, et.al. Not my cup of tea.

The Harmontettes "Listen" (Perfection Sound Studios, 19--?) (LP)
(Produced by John Currance)
On their debut album, the vocal trio of Barbara Emmett, Mearl Deal and Sue Hale give a contact address in Crandall, Georgia, in the northern end of the state, although by their second album they seem to have centered themselves in Marietta, GA, near Atlanta. Emmett and Hale were both Georgia natives, though Ms. Deal was originally from Cleveland, Tennessee (which was near the Georgia border). They are backed here by what seems to be a local band -- Calvin Carnes (drums), Dick Matthews (piano), Mac McCarthy (bass), Herb Wallace (steel guitar) and Rick Woods (rhythm guitar) with a set list that is light on famous names. There are one song each from southern gospel icons Mosie Lister and Laverne Tripp, though the rest of the composers are more obscure -- two songs by Julia Bowers, two by Jimmy Matthews, and others from Howard Bramlett, Eldridge Fox, and Leonard Hale (who I assume was a relative of Sue Hale.) These Harmonettes are not to be confused with another group (below) which was from South Carolina. (It should be noted that there was an unknown number of other gospel groups, both black and white, going by the name The Harmonettes, including one from South Carolina, which is sometimes confused with these gals. There was a Harmonettes vocal group that primarily backed evangelist David Beatty, and also a young Jimmy Swaggart on at least one single in the from around 1961; it seems likely that this was this same group as on this album, since the single came out on the independent Friddell label, which was based in Mearl Deal's hometown of Cleveland, TN.)

The Harmontettes "Sing Special Requests" (Perfection Sound Studios, 19--?) (LP)
(Produced by J. W. Crisp)
The second album by this humble vocal trio is a nice, understated set combining deep rural roots with solid, unflashy harmonies and simple, no-nonsense musical backing. There's twang in the mix, though it's mostly in the gals' rich southern accents, slightly accentuated by the plunky rhythm section and modest guitar, backing provided by pianist Duron Davis, Kayward Davis (bass), A. J. O'Bryant (drums), and Jim Odom on guitar. The repertoire includes three songs by Dottie Rambo and several from less well-known composers, including songs from Charles Abernathy, Leona Lamon, R. E. Winsett, and two by Charles Matthews. A delightfully unpretentious set, with a sincerity and simplicity that echoes the classic Carter Family style.

The Harmontettes "Presenting The Harmontettes" (Perfection Sound Studios, 1971-?) (LP)
(Produced by John Currance)
Not to be confused with the Georgia-based trio above, this was a female gospel trio from Williamton, South Carolina, featuring Alice Ellison, Sib Galloway, and Peggy Norris. The liner notes say that they had been singing and recording since the mid-1960s, playing together for six years before cutting this album, which was their first LP. They are backed by organist Dwythell Dill, Larry Lockaby on piano and the Huffman Brothers (Harold and Joe) on bass and guitar. There are no composer credits on the album.

The Harrill Brothers Trio "We Would Rather Sing" (All Star Records, 19--?) (LP)
A family band from White, Pennsylvania (no cynical comments, please...) made up of siblings David, Ivan and Lewis Harrill, who were the sons of Mr. and Mrs. George E. Harrill, who had nine children(!) total, four girls and five boys. The liner notes don't say who played which instruments, but the cover art depicts them as a very clean-cut trio, all horn-rim glasses and big, open smiles, all three of them holding guitars, including an acoustic twelve-string, which suggests a folky kinda sound. The inner label also credits musical director Syd Freeman and arranger William Dore. There's no date on this disc, but I'd guess anywhere from around 1968 to maybe 1971-72, given their square-but-almost-hip appearance.

Bob Harrington "...Goes Cross Country" (Chaplain Records, 1977) (LP)
(Produced by Gene Kennedy, Joe Mills & Bobby Bradley)
Back during the 'Sixties folk revival, Baptist preacher Bob Harrington (1927-2017) established his niche as a folk-singing evangelical known as "the Chaplain of Bourbon Street." Originally from Oklahoma, Harrington attended a theological college in New Orleans, where he began preaching on the streets of the French Quarter, eventually starting his own ministry and recording a series of gospel albums well-known to dollar-bin crate-diggers across the land. For this album, he went whole-hog and headed up to Nashville for a country music session at Bradley's Barn, with slick, crisp backing by an a-list studio band that included Phil Baugh on lead guitar, Russ Hicks playing pedal steel, Jerry Smith on piano and Arlene and Bobby Harden anchoring an out-of-control vocal chorus. (Apparently nicknames aren't allowed in Harrington's ministry: Buddy Spicher plays fiddle, but is listed by his Christian name, Norman K. Spicher... who knew??) To call this disc "corny" doesn't quite capture the full glory of it -- Harrington barks his way through recitation tunes so outlandish that they'd make Porter Wagoner blush... Dying, homeless old men making their last journey to church, broken winos helping good Christians find their path, creationism triumphing over science, and the amazing closing number, "Letting Our Children's Heroes Die," where a thoughtful father lectures his kid about how comic books are the work of the devil, and instructs the child to learn about George Washington and Thomas Jefferson instead... and Jesus, too, of course. They really don't make records like this any more! Apparently Harrington's life took a sideways turn around the time this album came out: he divorced his wife and closed his ministry in New Orleans, moving to Florida, where he took up a more lucrative career as a motivational speaker, though he fell on hard times in the '90s and came back to God, as well as to Oklahoma, where he spent the last several years of his life. Anyway, this disc is a real doozy, whether you treat is as kitsch or as scripture.

Emmylou Harris "Angel Band" (Warner Brothers, 1987)
Beautiful! Building on the sweet bluegrass gospel sound she brought to 1980's Roses In The Snow, Emmylou raises the bar even higher with this lovely set of harmony vocal tunes. The production is a little on the lush side, but the music is heavenly. This is definitely one of the essential Emmylou albums of the '80s.

The Singing Harris Family -- see artist profile

Danny Harrison "Jesus Is The One" (Deneba Records, 197--?) (LP)

The Harrisons "Gospel Sounds" (Teri Records, 197-?) (LP)
(Produced by Al Harrison, Perry Harrison & Wayne Vinnick)
A family band apparently originally from Oklahoma City, though they may have recorded this album in Southern California, where sound engineer Wayne Vinnick was based. The singers included Al Harrison, Jean Harrison, Perry Harrison and Teresa Harrison, with additional vocals by Ron Ferguson, Marquetta Ferguson and Jess Medley, and some instrumental assist by Dwight Jones on harmonica, a Texas gospel artist who cut several albums of his own.

The Harrisons "Precious Memories" (Teri Records, 197-?) (LP)
(Produced by Wayne Vinnick)

The Harrisons "Sailing Toward Home" (Teri Records, 197-?) (LP)
(Produced by Dale McCoy & Ray Owens)
A mixed bag here, with some vocals good, some vocals bad... I think it's daughter Teresa Harrison (now married and identified as Teresa Ford) who chimes in with some excellent, keening Tanya Tucker-ish vocals, but her contributions are constantly at odds with the goofy, lugubrious masculine intonations of one (or both) of the guys, who really drag things down. I'm hopeful that at some point she cut a solo album, but if so I haven't come across it yet. This album gives an address for the family in Ontario, California, although these sessions seem to have been recorded at Sweetland Studios in Oklahoma City, with reasonably twangy musicianship, mostly from the family band. This includes Gary Carpenter on pedal steel, Mark Ford (bass), Teresa Ford (piano), Perry Harrison (banjo and lead guitar) and Ken Mitchell on drums... The band provides some innovative arrangements on a tune or two, and there's a rural core to this album that I find intriguing, though they often lapse into a stuffier southern gospel style which tends to overshadow the group's most striking qualities. Worth checking out, though.

The Harrisons "Songs Our Daddy Sang" (Teri Records, 197-?) (LP)
(Produced by Wayne Vinnick)
I'm not sure if this was the group's final album, but it was the last one to include family patriarch Al Harrison: the record opens with a brief spoken recitation informing that Al Harrison had recently passed away, and that this album is dedicated in his honor. That first track includes a brisk bluegrass arrangement, and definite country touches ornament the rest of the record, mainly some nice pedal steel riffs... Overall, though, this tilts towards a syrupy Southern Gospel sensibility; likewise, Teresa Ford largely abandons her early twanginess in favor of a drippier Contemporary Christian presentation. While they still incorporate more overt twang than many other bands, this veers away from their country roots in a way that's too mushy and self-serious for me. Oh, well.

The Hart Family "...Featuring Mr. Sandman" (Associated Recording Artists, 1975) (LP)
(Produced by Billy Walker, Ailene Hart & Larry Hart)
Led by their mother, Ailene Hart, this Midwestern family band from Hopedale, Ohio recorded several albums toured regionally, while Hart's son Larry landed several appearances on Hee Haw and other TV shows. They mainly recorded gospel material, but went secular for this set, with support from some Nashville old-timers. Producer Billy Walker plays guitar on these sessions, while Eddy Arnold wrote the liner notes, and I believe he may have recorded some of their songs as well.

Freddie Hart "Sermon On The Mountain" (Music Mill Records, 2001)

Freddie Hart "I Will Never Die" (Music Mill Records, 2001)

Harvest "Never Thirst Again" (Pure Joy Records, 1976) (LP)
(Produced by Al Perkins)
A sweet-sounding set of hippie-tinged "Jesus freak" California country-rock, with tight, light vocal harmonies and plenty of twang, as well as a strong set of original compositions. In many ways this is a more tightly-focussed, musically more cohesive and satisfying album than a lot of the secular albums being recorded by the SoCal hippie twangsters of the same era. Nice stuff!

Harvest "Morning Sun" (Milk & Honey Records, 1981) (LP)
A different group than the one above, this Christian band originally formed in 1977 as a trio, consisting of Ed Kerr, Paul Wilbur and Jerry Williams. Wilbur left in 1981, Kerr followed in 1990, and the soldiered on as Jerry Williams And Harvest, until around 1995.

The Harvesters "The Family Bible" (Festival Recordings, 1964-?) (LP)
(Produced by Hal Harrill)
Old-school southern gospel with country backing from Ray Adkins of the Crackerjacks, Tommy Faile and Arthur Smith, whose studio hosted the sessions. The bandmembers aren't listed by name, though they seem to have made several albums, including this one on a label from Charlotte, North Carolina, where the Harvesters were from.

The Harvestime Gospel Singers "Jesus Is Coming Soon" (John's Recording Studio, 1972-?) (LP)
Laid-back, utterly unpretentious, super-sincere harmony gospel by a humble quartet from Springfield, Missouri. These guys weren't the greatest singers, or the greatest pickers, but they were completely earnest and soulful as a result, working in roughly the same style as the Louvin Brothers: gently heartfelt gospel with a light, melodic lilt. The vocal quartet included Gary England (soprano), James Pratt (first tenor, Chesley Wiggins (bass), and Hershel Williams (second tenor)... James Pratt also doubles on rhythm guitar, accompanying a guy named Larry Melton, whose lead picking is a big part of the group's low-key appeal. Melton's not a dazzling virtuoso, but was clearly a devotee of Chet Atkins, and picks some sweet licks in the background, hitting his marks, but not overshadowing the vocals. Equally charming is a shaky solo vocal on "He Looked Beyond My Fault" from Chesley Wiggins, an old-timer who looks like he was about twenty years older than the other guys, maybe in his early sixties(?) and with a decidedly old-man voice. It's nice that they made room for him in the spotlight, even though obviously he wasn't hitting the sort of "perfect" vocal style prized in the wider, more professional southern gospel scene... Indeed, it's their amateur, just-plain-folks quality that makes these guys compelling. ("He Looked Beyond My Fault" also features a great, forlorn recitation about getting help from the Lord "even when I'm depressed," making the track an album highlight). A good record, not a great one, but I'd take these guys over The Rambos or The Speer Family any day.

(Lexie Harvey &) The Waylighters "Revival Time Songs" (Pathway Records, 19--?) (LP)
Folks looking for real-deal hillbilly gospel would be hard-pressed to find a more authentic album than this one, a lively mix of bluegrass and rockabilly-flavored twang. Though her group was popular in the Detroit area, lead singer Lexie Harvey sure sounds like a rough-and-tumble, deep-holler, backwoods gal from the Appalachians, most likely somewhere in Kentucky, judging from her accent. With a recording career dating back to the late 1950s, Lexie Harvey first led a group called The Gospel Four, though she soon settled on The Waylighters as a permanent band name. She released albums as a "solo" artist, also as "Lexie Harvey And The Waylighters," and just under the group's name. This edition of The Waylighters included Lexie Harvey on lead vocals and rhythm guitar, Ken Hamby adding some pretty groovy (if slightly chaotic) electric lead guitar, Carl Malone and Rodney Malone playing bass, Bob Ross on rhythm guitar (and on vocals, along with his wife, Dora Ross) and Gene Saylor adding a some solid bluegrass licks on banjo. According to the liner notes, the band had a weekly Sunday morning broadcast on radio station WPON, in Pontiac, Michigan -- some of Harvey's early singles also came out on Michigan indies, although she later seems to have moved to Ohio. Not sure when this album came out, but it looks like a late 'Sixties set, and most likely the earliest of Harvey's albums that I know of. [Kudos to Mark Betcher for posting tracks from this album on his Good, Bad & Ugly music blog... thanks!]

Lexie Harvey "He'll Part The Waters" (Artists Records, 1970-?) (LP)
(Produced by Michael J. McGuire)
Super-rootsy hillbilly gospel, with twangy, unruly electric guitar framing Lexie Harvey's deep-holler Appalachian vocals, and some chunky, old-school bluegrass riffs in as well. There's about a twelve-year gap between her wild original seven-inch recording of the title track, "He'll Part The Waters" (a song most associated with gospel star Martha Carson) and this smoother version which is slightly more professional-sounding, though still quite rural, and quite distinctive. Once again, the electric guitar contains echoes of Chet Atkins sleek chicken-pickin' style, with provocative hints of rockabilly and a tendency towards meandering improvisation. But this is an undeniably rural, back-woods band...it's all pretty groovy, if you ask me!

Lexie Harvey & The Waylighters "Sing Country And Blue Grass Gospel" (Artists Records, 1970-?) (LP)
(Produced by Michael J. McGuire)
A pared-down production featuring the evangelical duo of Bill and Lexie Harvey, backed here by two younger-looking fellows, Ken Hamby and Pat Martin, as well as drummer Denny Robertson... A lot of country-gospel standards, including "God's Not Dead," "Satisfied" and "Using My Bible For A Road Map," along with some original material: the album kicks off with Ken Hambry's "The Life Of Jesus," while Lexie Harvey contributes one called "I Need You Jesus." [See also: The Waylighters]

Ray Hatcher "Songs Of Love, God And Country" (Arzee Records, 1964-?) (LP)
A Philadelphia country singer who was affiliated with Rex Zario, Ray Hatcher released several secular albums, and though this sounds like a gospel set, most of the songs are secular... Still, anyone who wants to sing a tune like "Happy Birthday America" is alright by me.

Mike Haun "Mountains To Ashes" (1977-?) (LP)
(Produced by Charles Crocker)
A bluegrass-y set from North Carolina, with one side secular, one side gospel... Almost all the songs are Mike Haun originals, with the exceptions being a cover of John Hartford's "First Girl I Loved" and a Dillards tune, "With Care From Someone," which puts Mr. Haun in pretty good company. The band included drummer Paul Barclay, Mark Johnson (bass and guitar), Tommy Mitchell (guitar and harmonica), Chuck Wagner (banjo) and Mike Haun. To the extent that this is a religious album, it's more of a contemporary Christian/Jesus freaky folk set, touching on spiritual themes without proclamations about the holy trinity and whatnot. Mr. Haun is a difficult figure to track down... Opinions differ about when these two albums came out (though this one has a lower catalog number, so it was probably the first) and the question of where Haun was from and where he wound up is equally vexing. This disc was recorded at a studio in Canton, North Carolina, although on the More Than This album, Mike Haun provides a home address in Lawrenceville, Georgia (near Atlanta). Over the decades there have been a bunch of news stories and mentions of evangelical singers named Mike Haun, but they are scattered all over the map so it's hard say whether it's all the same guy, or whether the name is more common than one might imagine... Any info is welcome!

Mike Haun & Jerry Blacklaw "Something More Than This" (197--?) (LP)
(Produced by Charles Crocker)
This disc seems to have been recorded roughly around the same time as the other, at the same North Carolina studio, though with a slightly different lineup. The band included Paul Barclay on drums, Jerry Blacklaw (guitar and piano), Mark Johnson (bass), Tommy Mitchell (harmonica), Chuck Wagner (banjo), Cindy Wheeler (tambourine) and Mike Haun of vocals and guitar. Haun gives an address in Lawrenceville, Georgia, though his collaborator Jerry Blacklaw seems to have originally come from around Little Rock, Arkansas, where he wrote several songs for a 'Sixties garage rock band called The Romans. In addition to this album, Blacklaw recorded some solo LPs, though they were less twangy than this disc.

"Little" George Havens "Circuit Ridin' Preacher" (Rainbow Records, 1969-?) (LP)
Nicknamed "Little" George, Mr. Havens (1920-1988) stood about four-foot-eleven, and was mainly famous for his stunt work on numerous cowboy movies, dating back to the 1940s. Havens left the film industry after a religious conversion, as well as from concern about the safety of his work: his widow, Lucy Havens says that during an accident while shooting a "Jungle Jim" action flick, Havens was worried that he'd almost broken another actor's neck, and decided his film career wasn't worth that kind of risk to others. Afterwards he largely devoted himself to evangelical efforts, including a music ministry which resulted in this album, as well as appearances on the Grand Ole Opry. In 1966, Havens founded the Cowboy Camp Meeting, an annual event complete with covered wagons and gospel music, hosted at his Flying H Acres ranch, near Santa Anna, Texas. The event continued for decades after Mr. Havens' death, at least as late as 2017. As far as I know, this was his only album, one of many, many gospel LPs produced by the prolific, Dallas-based Rainbow Sound label.

Hazel & Louise "...Sing I'll Put My Trust In Thee" (REM Records, 1965-?) (LP)
(Produced by Bob Mooney)
Country gospel by a duo previously known as the Horton Sisters... Hazel Trubee and Louise Wilson grew up in the backwoods of Scioto Country, Ohio, later living in Xenia with their families. The sisters performed live radio programs daily on several local stations, and also sang at their church. Hazel's husband was Pentecostal evangelist Bill Trubee, and their daughter Sharon plays piano on this album, as does their fellow country music evangelist, Reverend Ray Anderson who plays bass (as opposed to the lead guitar work on his own albums.) They are joined by a local band including Joe Adams playing steel guitar, his father Johnny Adams on rhythm guitar, Pete McKeehan on drums, and Denny Waggoner pickin' lead guitar. About half the album is original material credited to Mrs. Trubee, with an additional tune from Hisel Carpenter, who also recorded an album for the REM label. Actually, these local folks were in pretty good company: the label, which was located in Lexington, Kentucky, also recorded albums with established artists such as Cliff Carlisle, Tex Jenks Carman, Esco Hankins, Charlie Monroe and Molly O'Day. Great stuff: it's like if Kitty Wells and Skeeter Davis had formed a hillbilly duo with Merle Travis backing them up.

Hazel & Louise "He'll Never Fail" (Gospel Recording Service, 1966-?) (LP)

The Heavenbound Singers "I'm On My Way" (GRS/Gospel Recording Service, 1970-?) (LP)
(Produced by Ray Anderson)
This trio was a family group, made up of siblings Doris Behrer and her brother Willard Meadows, along with their mother, Lena Neal, who were all from southern Kentucky, near the Tennessee border. The liner notes inform us that Doris got religion at age fourteen and began playing piano and singing at several local churches, and was later joined by her brother, who found his religious calling in 1965. They are joined on this album by bassist Roger Bissell, who may have been provided by the Ohio-based recording studio. I was drawn to this album by the presence of producer Ray Anderson, himself an avatar of rural (hillbilly) authenticity; indeed, the repertoire reflects an affinity for more country-oriented, contemporary material, with multiple songs from the likes of The Hemphills, Dottie Rambo and Naomi Sego, as well as a couple of songs by Hazel Trubee, which bookend this set. [It's worth noting that there are several groups in various cities that used this same name, though this particular ensemble seems to have made only a couple of records.]

The Heaven Bound Singers "Hallelujah Square" (Gloryland Records, 1973-?) (LP)
(Produced by Jack Casey & Marvin Jones)
Willard Meadows seems to have taken up the mantle of running the Heaven Bound Singers, which expanded to a seven-member band by the time this album came out, and professionalized to the extent that they are pictured standing next to a tour bus on the bank cover. The group became a merger of two evangelical families: Willard's sister Doris and their mother both seem to have dropped out, giving way to a new lineup that included Willard Meadows as lead vocalist, joined by alto vocalist Ruth Meadows and Tama Meadows on piano, along with several members of the Johnson family -- Rick Johnson (bass guitar), Rob Johnson (lead guitar) and Dessie Johnson (tenor vocals) as well as rhythm guitarist Danny Dixon. Mr. Meadows also seems to have pursued a different repertoire, with perhaps an interest in newer, Contemporary Christian-style music, with a version of "The Lighthouse," from The Hinsons, and a number of composers who are less familiar to me. Several songs are credited simply to someone identified only as "Campbell," which turns out to have been Missouri-based bandleader Jack Campbell, who had just recently released his first album with the group The Ambassadors. The Heaven Bounds cover his songs "Going Up," "The Best Is Yet To Come" and "I'm Gonna Wake Up In Glory."

The Heavenly Echoes "Meet Me Over Yonder" (John's Recording Studio, 1976-?) (LP)
A family band from Perkins, Oklahoma, featuring brothers Frank Lane on rhythm guitar, Jack Lane (lead guitar), Jerry Lane (steel guitar), John Lane (drums) and Neal Lane playing bass. Although they traveled to John's Recording Studio in Russellville, Arkansas -- which had plenty of hotshots pickers on hand -- all the instruments seem to have been played by the Heavenly Echoes themselves. No date on the disc, but the album is dedicated to their grandmother, who passed away in July, 1976, and to their mother, Hattie Mae Lane.

The Hee-Haw Gospel Quartet "Best Of The Hee-Haw Gospel Quartet" (Ranwood Records, 1995)
The HHGQ -- Roy Clark, Grandpa Jones, Buck Owens and Kenny Price -- graced the airwaves of the late 1960s and early '70s with restrained but roots-conscious harmony gospel singing. Of the four, Grandpa Jones had the most impressive gospel lineage, having such in the Brown's Ferry Four back in the goodle days, with the Delmore Brothers and Wayne Raney... These discs include guitar overdubs that may upset or disappoint folks who remember the surprisingly raw on-air sound of the Quartet's original TV performances. Still, the choice of repertoire is in and of itself impressive; even back in the '60s, this style was quite antiquated and half-forgotten... It should be mentioned that there is speculation that Buck and the others don't actually sing on these recordings... not sure that I could comment authoritatively on that point, but I thought I'd pass it on anyway... But for old-school Southern Gospel fans, this could be a goldmine.

The Hee-Haw Gospel Quartet "Best Of The Hee-Haw Gospel Quartet, v.2" (Ranwood Records, 1995)

The Hemphills -- see artist profile

The Heralds "Our Brand Of Country" (Acclaim Records, 1984) (LP)
(Produced by Glenn Wallace)
False advertising! This is one of those southern gospel sets where the guys pose for a picture on horseback, then claim it's a "country" album, though there's nary a bit of twang to be heard on most tracks. Not only that, but there are a lot of really stuffy, corny-sounding vocal numbers that bring the album to a grinding halt -- particularly those showcasing baritone Jack Veazey. The rest of this Southern California quartet included Jim Ayars (bass vocals), Jerry Patton (second tentor) and Don Scroggs (tenor), backed by keyboardist Jim Teel and an otherwise unidentified "country" band. Just speaking as a twangfan, I did not care for this record at all. Apparently it won some sort of award back in '84, but it didn't do much for me.

Jake Hess - see artist discography

The Hester Family "Country Gospel" (Top Records, 19--?) (LP)

Hickory Flat "Gospel News" (19--?) (LP)

Hickory Hill "Thank You Lord" (2000) (LP)
An all-gospel bluegrass set...

Carrol Hicks "We're Blessed People" (FCH Records, 1985-?) (LP)
(Produced by Rocky Frisco & Lynn Nodine)
A well-produced, musically satisfying mix of cheerful sunshine country and down-home gospel, with strong vocals by Ms. Carrol Hicks, a gal from rural Dewey, Oklahoma who is almost a dead ringer for Dolly Parton on many tracks, with hints of Donna Fargo and Loretta Lynn in the mix as well. She's joined by her husband, Freddy Hicks and their daughter Laurie Hicks, as backing vocalists; young Laurie also sings lead on one of those cutesy-kid-singer novelty numbers, "Mommy, I Want To Be Just Like You." Other than that one song, this is a rock-solid record with a very bright, cheerful 'Seventies sound (though it may have actually been recorded in the 'Eighties). Alas, although this was recorded at the Al Clauser Studios in Prue, Oklahoma, there's no information about the backing band -- they sound great and presumably were Clauser's studio crew, led by red dirt legend Rocky Frisco (aka Rocky Curtiss, 1937-2015). Anyway, if you're looking for country gospel records that really sound country, this disc's a gem. Nice stuff, easy on the ears from start to finish.

Martin Hicks "Bluegrass Gospel At Its Best" (FCH Records, 19--?) (LP)
A gospel bluegrass bandleader with a career spanning back at least to the early 1960s, Martin Hicks was living in Camden, Alabama when he cut this album, and this seems to have been his family home, as he's surrounded by family members on this indie album: Mr. Hicks sings and plays guitar, with backing from his sons, Martin Hicks III (mandolin and harmony vocals), Robert Hicks (bass) and James Hicks (banjo), as well as his brother Leonard L. Hicks (rhythm guitar), and Eddie Michael on fiddle. The repertoire is heavy on gospel standards, though his earlier singles and EPs mined a wealth of original and more obscure material. Martin Hicks led several different bands, and most likely was working and living in a few other states at the time, including stints on Arzee Records (in Philadelphia) and what seems to have been his own Loyal Records, which gave addresses in Edwardsville, Illinois as well as Birmingham, Alabama; as far as I can tell, these earlier recordings have not been anthologized, and this disc seems to have been his only full album.

Orville Hieb & His Gospel Odyssey "It's A Good Life" (Gospel Odyssey Records, 1975-?) (LP)

Orville Hieb & His Gospel Odyssey "From Nite Clubs To Christ" (1976-?) (LP)

Orville Hieb & His Gospel Odyssey "I Don't Regret A Mile" (1976-?) (LP)

Ray Hildebrand "He's Everything To Me" (Word Records, 1967) (LP)
Gospel folkie Ray Hildebrand had an interesting history... A Texas native, he emerged as a Kennedy-era pop star as half of the vocal duo Paul & Paula, topping the charts with his single, "Hey, Paula," which led to a high-profile whirlwind of international stardom. He got burnt out after a couple of years, though, and left show business in 1965 in order to finish college. Hildebrand moved to Kansas City, Kansas and beginning in 1967, he reemerged as a gospel singer, becoming one of the pioneers of what would eventually be known as Contemporary Christian music. I'm not sure, but I think this may have been his first album, with over half the songs his own originals... Plus, dig that rockin' crew cut!

Ray Hildebrand "Special Kind Of Man" (Myrrh/Word Records, 1973) (LP)
(Produced by Billy Ray Hearn, Rick Horton & David McKinley)
An exemplary hippie-era country-rock gospel album, mixing modern musical approaches into old songs and new. Although many of his albums have a pop/folk feel, this one is notable for its overt country twang, with superb backing by roots music revivalist Norman Blake, who plays banjo, fiddle, guitar and mandolin, along with steel guitar player Curly Chalker, who adds some slightly chunky licks reminiscent of Jerry Garcia's "Teach Your Children" riffs. It's not all country and bluegrass twang, though -- several songs have an innovative hippie rock feel, notably his wild reinterpretation of Alfred E. Brumley's "I'll Fly Away," which is recast as a slow, slinky roots-funk number. Other notable tracks include his version of Chuck Girard's "Little Country Church," a wide-eyed, open-hearted hootenanny anthem about how the churches of today ain't like they was back in grandpa's back -- no stern lectures, just happy, happy times, praising the Lord. It has to be said, in all honesty, that many of these songs have a similarly goopy, booster-ish feel, seeking to make a pitch for the ecstatic spiritualism of the longhaired "Jesus freak" movement, which appealed to counterculture types looking for religious solace amid the social turbulence of the Nixonian era. Although there are several very good tracks on this record, there are also a few that dip into pretty dorky, gosh-heck lyrics, where the fervor for conversion takes precedence over musical finesse. Still, it's a great example of the style, and if you're looking into country-rock Christian music, this one's a classic.

Keith Hillard "Country Gospel Time" (Ke Le Hi Records, 1973) (LP)
(Produced by Keith Hillard & Scott Seely)
A self-described born-again Christian from Brea, California, Keith Hillard made at least two albums of country gospel music, sung in a "western" (cowboy) style, though other than that, the man remains a bit of a cipher. All the songs on this album were his own originals, including titles such as "Come With Me Everyone Form A Circle," "Going, Going, Gone" and "I Thought I Had Everything," which features his youngest daughter, Barbara Hillard, as a featured vocalist. The musicians aren't identified, though the liner notes tell us he led a group called the Singing Revelations, and several vocalists are listed by name. Ke Le Hi Records seems to have been his own label, presumably made of a concatenation of his his first, middle and last names.

Keith Hillard "The Day Will Come" (Ke Le Hi Records, 1979) (LP)
(Produced by Keith Hillard)
This album gives us a little more information about Mr. Hillard -- he was a military veteran, about forty years old when this came out, became born again in 1967, and was an active evangelical preacher. As on his first album, all the songs are Keith Hillard originals, described in a big ad that ran in Billboard as a "country western cantata." Also informative is the list of musicians backing him here, which included veteran western composer Curt Massey on fiddle, Buddy Merrill playing bass and rhythm guitar, his bandleader Scott Seely on keyboards, and a steel player and lead guitarist identified as Les Buehenin (although that may have been a typo). So, despite his own online obscurity, Mr. Hillard had a few high-powered pals backing him on this album. Any further info is welcome!

Ruben Hillborn "Alaska Calls" (Word Records, 1970) (LP)
Twangier-than-usual country gospel from evangelical Alaskan Charles Ruben Hillborn (1937-1999) a commercial fisher by trade and religious crusader by vocation. This may have been his first album, though he was already billing himself as "the singing fisherman," a nickname he stuck with over many years. This album came out on the Texas-based Christian label, Word Records, with Hillborn backed by a small band that seems to have included a couple of ringers from the Lower Forty-Eight... The lineup was Ruben Hillborn on lead vocals and guitar, his longtime friend and collaborator Jerry Sherbahn on steel guitar, a guy from California named Duane Markham playing mandolin, and Louisianan Raymond Self on bass. The songs all seem to have been Hillborn's originals, with only the title track, "Alaska Calls," featuring a regional theme, and the rest of the tracks strictly religious in nature. Hillborn provided a home address on Kodiak Island for this early album, though he was later associated with Anchorage.

Ruben Hillborn & The Alaskan Troubadours "A Free American" (Arctic Studio, 19--?) (LP)
(Produced by Dwight Finger)
Although most of his albums were gospel records, this one was mostly secular, and also mostly cover songs. The disc kicks off with the title track, a Hillborn original with a patriotic theme, which is echoed on Side Two by "Bless America Again," a Bobby Bare song most famously recorded by Loretta Lynn in 1976. Other cover songs were borrowed from the likes of Larry Gatlin ("Help Me"), Merle Haggard ("Fighting Side Of Me") and Wynn Stewart (Dale Noe's "It's Such A Pretty World Today") and a somewhat random Webb Pierce song, "Let The Children Pick The Flowers," as well as some genuine oldies: Tex Owens's "Cattle Call," "She Taught Me To Yodel" and "Beyond The Sunset." An interesting change of pace from his evangelical fare, for sure. Hillborn's usual crew is backing him: his son John Hillborn (1962-2022) on drums, Wayne Blackmon (banjo), Gary Cox (rhythm guitar), Jan Fry (bass), Jim Straughn (lead guitar) and his longtime collaborator Jerry Sherbahn on steel guitar.

Ruben Hillborn "The Lighthouse" (Arctic Studio, 19--?) (LP)
Another solid country-gospel set, with backing from his usual crew -- Gary Cox (rhythm guitar), Jan Frye (bass), John Hillborn (drums), Jim Straughn (lead guitar) and Jerry Sherbahn on pedal steel. I'm not sure about the composer credits, though there are a lot of standards on here, such as "Did You Think To Pray," "Family Bible," "Golden Bells" and "One Day At A Time," as well as the title track, Robbie Hinson's immensely popular "The Lighthouse."

Chris Hillman - see artist discography

The Hinsons "Here Come The Hinsons" (Calvary Records, 1970) (LP)
(Produced by Stan Anderson & Nelson Parkerson Jr.)
The first album by a family band from California that included siblings Kenny, Larry and Yvonne Hinson, as well as Ronny Hinson, who became one of the top southern gospel songwriters of the 1970s. The group was formed in 1967 and stayed together through the 1980s, though like many gospel acts, they eventually split off into various solo projects and new lineups. This album is noteworthy for being recorded at Stan Anderson's studio in Fresno, California, while many of their subsequent records were made in Nashville, and at the Happy Goodman studios in Kentucky. The band backing them here included Carl Harrell (bass), Freddy Manton (drums), Jimmy Nichols (guitar), Jimmy Shaw (piano) and Jack Smith on steel guitar. Biographies of the band tend to slide past their family roots, though they seem to have been from Santa Cruz County, though possibly from the small agricultural town of Salinas, in neighboring Monterey County; they first sang together as a family band at a church in nearby Freedom, California (near Watsonville).

The Hinsons "...Sing About The Lighthouse" (Calvary Records, 1971) (LP)
(Produced by Rusty Goodman, Larry Madlinger & Nelson Parkerson Jr.)
The group's second album showcases Ronny Hinson's "The Lighthouse," which became one of the best-known and most frequently recorded southern gospel standards of the 1970s, notably covered in 1972 by the Happy Goodman Family, who soon became patrons of the Hinsons. This album was recorded at Goodman Sound Studio, in Madisonville, Kentucky, though the group continued to release their music on the Fresno-based Calvary label. The studio crew included a slew of hotshot pickers: Jimmy Capps (guitar), Eddie Crook (piano), Joe Edwards (guitar), Jack Smith (steel guitar) and Curtis Young (rhythm guitar), as well as Larry Strzelecki on bass. Let's pause here and make note of just how country -- and how West Coast -- this album sounded, with the original version of "The Lighthouse" owing a huge stylistic debt to Merle Haggard, both in the picking and in the vocals. To varying degrees, the Haggard homage persists throughout the album, although there are a few tunes that have a stuffier, more 700 Club feel, most notably the tracks that feature Yvonne Hinson as lead vocalist -- although she was lauded in the southern gospel community, I have to say I find her vocals a bit cloying and stilted, particularly in contrast to the group's twangier tunes. [Also worth noting, though I haven't 100% confirmed it, the actual lighthouse pictured on front cover appears to be the Pigeon Point Light Station, located near Pescadero, CA, just north of Santa Cruz.]

The Hinsons "He Pilots My Ship" (Calvary Records, 1972) (LP)
(Produced by Rusty Goodman, Larry Madlinger & Nelson Parkerson Jr.)

The Hinsons "We Promise You Gospel!" (Calvary Records, 1973) (LP)
(Produced by Stan Anderson & Nelson Parkerson Jr.)

The Hinsons "Touch Of Hinson, Glimpse Of Glory" (Calvary Records, 1974) (LP)
(Produced by Nelson Parkerson Jr.)
A very professional, contemporary-sounding country gospel set, recorded in Nashville, at Hilltop Studio with backing by an unidentified set of musicians. Almost all the songs are Hinson originals, with five Robbie Hinson songs, one by brother Kenny Hinson, and a couple of public domain tunes rounding things out. This album is marked by slicker production, with uptempo Jerry Reed-styled chicken picking wed to robust, Oak Ridge Boys-ish harmony vocals. It's still pretty country flavored, though with a slightly rote feel. Yvonne's vocals are (thankfully) often subsumed by the group sound, though she also slips into a more rural, Loretta Lynn-ish tone inside the family chorus; alas, her solo numbers are still a bit dreary. Overall, though, worth a spin. The Hinsons recorded many other albums, which might get listed here later.

June Hodge "All In The Name Of Jesus" (Lefevre Sound Records, 19--?) (LP)
(Produced by Stan Dacus)
A gospel set by an older-sounding Baptist gal from Knoxville, Tennessee, most likely Evalee ("Aunt June") Hodge (1911-2000) who was born in Sevier County. This is a charming though imperfect album -- Ms. Hodge was a heartfelt singer with a decidedly rural edge, and was probably in her late fifties or sixties when she made this album. She sounds like Kitty Wells, or perhaps even like Patsy Montana in her later years, fully committed though perhaps a little shaky -- she's backed by some folks in the LeFevre studio's orbit: James Goss (rhythm guitar and drums), Roni Goss (bass), Brian Keith (guitar), Garland Nash (steel guitar), David Young (piano). The bass playing is a bit plunky and plodding but Nash's steel is resonant and richly textured. Overall this is an authentic, sincere gospel set, and definitely country-sounding, though perhaps not completely suited to listening to recreationally. Included on the back are liner notes by her pastor, Marion S. Stanley, of Olivet Baptist Church in Knoxville, Tennessee. By the way, I love the cover photo which shows a freshly-painted white country church framed by several saggy, dilapidated old rural buildings... nice metaphor!

Dan Hodges & Geneva Hodges "Spring, Summer, Fall, Xmas: Music For All Seasons" (Outlet Records, 1976) (LP)
(Produced by Ron Shiveley)
The Hodges were an old-timey/bluegrass gospel duo from Franklin County, Virginia who had a weekly radio show on WNIB, in Mount Vernon. They also performed as The Southlanders, with Dan Hodges on guitar and Geneva Hodges playing 5-string banjo. This album is all original material, with Side Two focussing on Christmas songs, while Side One was non-holiday specific, though packed with gospel material.

Roland Hoffman & The Believers "Cross Country" (Homestead Records, 19--?) (LP)
A family gospel band from Lemmon, South Dakota, the Believers were led by Roland F. Hoffman (1941-2021) who started out in a band with his siblings, called the Stateliners, and later recruited his wife and kids ("The Believers") to raise a little twang unto the Lord. The band is perhaps best known as the proving ground for Hoffman's son, Rory, who started performing in their concerts at age five, learned to play fourteen different instruments, and grew up to be a major star on the contemporary Christian/Southern gospel scene. Blind at birth, Rory Hoffman is also held up as an inspirational figure, and has written about his life and how he surmounted various challenges. I'm not sure when this album came out, or how old the various Hoffman siblings were at the time... The Hoffmans recorded five albums altogether, including three that were recorded in their own home studio.

Roland Hoffman & The Believers "Standing On The Rock" (Homestead Records, 19--?) (LP)
(Produced by Harvey Tibor)

Roland Hoffman & The Believers "Country Gospel Blend" (Home Stead Productions, 1984) (LP)
(Produced by David Swenson)
Downright kooky country gospel from evangelical singer Roland Hoffman and his family band, who lived in Lemmon, South Dakota but had to cross the state line and drive about a hundred miles to record this set at Tri-Art studios, in Bismarck, North Dakota. This is actually kind of a vexing album, as Mr. Hoffman was actually a pretty effective modern country singer, with a youthful intensity and verve that sounds quite a bit like the country rockers of the previous decade -- the album opens with one of his many original compositions, "Jesus, You're Really There," a relentlessly upbeat song with a manic arrangement that winds up being pretty catchy. Mr. Hoffman was actually kinda good, and you could easily imagine him being is some edition of the Flying Burrito Brothers, or some similar Southern California band. However, this is one of those evangelical albums where one's small children are enlisted in the cause, and family values outrank conventional musical concerns... After opening on a strong country-rock note, the album devolves into a barrage of uber-cutesy, super-kitschy little-kiddie vocal numbers, and while these tracks have their twee, corny charm, every time Mr. Hoffman comes to the mic, you wish he'd just recorded an album on his own, which might have been a lot more durable and effective. Still, what's done is done, and these are the records we have. I suppose if Gram Parsons had cleaned up his act, settled down and raised a passle of little sprats, he could have made an album like this is his later years. Also worth mentioning, I think all four of the Hoffman children were blind, which may partly explain Mr. Hoffman's devotion to sticking to the family band model, as well as their steady development of the truly unique, slightly insular musical sound.

Roland Hoffman & The Believers "Country For The Lord" (Home Stead Productions, 1985) (LP)
(Produced by Karol Hoffman & David Swenson)
The kookiness continues and intensifies as the Hoffmans hone in on a more distinctive, idiosyncratic family style, giving shape to an outsider-art sound that now edges into an almost alt-rock feel... Roland Hoffman's vocals start to feel more Jonathan Richman-esque, while the music is so unapologetically rinky-dink, we seem to be edging onto almost Calvin Johnson/Daniel Johnston territory. Honestly, I'm amazed these records don't have more of an irony-drenched cult following. (WFMU, are you listening?) The kiddie vocals are still annoying, but if you embrace this as kitsch, this disc's a doozy. Not that there aren't also some genuinely good songs, most of them written by Mr. Hoffman, but I still wish he'd taken the lead more often. For example, the opening track, "Country For The Lord," is a fine example of the giving-up-worldly-ways conversion narrative, and seems to be an autobiographical account of how Roland Hoffman grew up playing in secular bands, but gave up his sinful ways to serve the Lord. I sure would like to know more about his secular days, but also it's another example of how if he'd just made a record on his own, it might have been quite good, and more accessible to a wider audience. But, I guess the Partridge Family vibe is what gave him his inspiration, so it is what it is, and I actually think this is a pretty interesting album. Not many that sound like it. Oh! Maybe I should also mention who was in the band... The Believers included Roland Hoffman on guitar and vocals, his wife(?) Karol Hoffman, and their kids, twin daughters Kimberly Fae Hoffman and Konnie Hoffman on piano and keyboards, four-year old Reed Hoffman (vocals), and seven-year old Rory Hoffman on drums. Also worth noting, the record ends on a strong note, with another Gram Parson-esque country-rock gospel number, called "Savior Or Judge."

Roland Hoffman & The Believers "Up With Families" (Home Stead Productions, 1987) (LP)
(Produced by Karol Hoffman)
Was there some big "down with families" movement that I'm unaware of? Anyway, the family love vibe continues on this album, which really is all about family and family relations, opening with a cute, heartfelt tune called "Daddy's Girls," in which Mr. Hoffman sings unabashedly about his affection for his twin daughters... Slightly more cloying are the humorous "She's The Mother Of Kids," and subsequent numbers such as "Grandma And Grandpa," "Mommy's Boys" and "Daddy, Do You Know What," which lay it on a bit thick. To me this is the least compelling of the Believers albums, partly because the country influence is fading away in favor of an almost exclusively piano/keyboard-centric sound, which at times drifts into almost "Muskrat Love"-style kitsch. And though the Hoffman girls are now young adults and sound like more confident vocalists, there's still an awful lot of cutesy-little kid vocals from the younger boys, and it wears thin after a while. Nonetheless, Roland Hoffman has an intensity and sincerity that make some his originals compelling, including the musically dreary but very personal "I Wish That I Had Prayed," as well as "Short, Short Stay," a more conventional country tragedy ballad about the death of a young child. This album seems to offer diminishing returns, though I think the case could be made for a Roland Hoffman & The Believers best-of collection, and if you shied away from some of the more cloying material, it could be quite good.

Ken Holloway "Ken Holloway" (Ransom Records, 1994)
Christian country by a guy from Lafayette, Louisiana who, according to his online biography, didn't necessarily want to go onto a religiously-oriented musical path, but snapped up the first record deal he could get, and that just happened to be on a Christian label. It was a good match: Holloway has recorded at least eight albums and made a few tentative forays into more secular material. At some point, though, he semi-retired and regrouped, opting to go back into playing bars and lounges, just so he could scratch that trad-country itch. I think this was his first album, though I'm not entirely sure.

Ken Holloway "He Who Made The Rain" (Brentwood Records, 1995)

Ken Holloway "The Ordinary" (Brentwood Records, 1997)
Sort of a square peggish album, a rugged, Southern rock-tinged country gospel offering, sort of like if Travis Tritt had gotten all born again on us, but kept the rough edges in his guitars. Without overplaying the Jesus thing, Holloway's songs hearken back to simpler times, pining for the days when common sense and common decency were commonplace (or, as in the title track, "the ordinary"). He sneaks a few secular tunes in as well, and though this is an independently produced release, Holloway has a pretty big, professional sound. An interesting option for folks of the faith who don't necessarily enjoy having to listen to sappy-sounding, churchy gospel tunes.

Bennie Holtsclaw "God, Family, And Friends" (Melody Wings Music, 1980) (LP)
(Produced by John Leavitt, Jr., Barry Dirks & John Salem)
This may have been the first full album by country-gospel auteur Bennie Holtsclaw, who lived in Cedar Point, Kansas, a tiny town roughly northeast of Wichita. He had made a few singles in the late 'Seventies, but notes on the back of this album that folks had been encouraging him for years to cut an album of his own stuff, which he finally did on this record. All but one song here is a Holtsclaw original, with the lone exception being a cover of the old Jimmie Davis hymn, "Suppertime." Some of the songs, like "Daddy I Want To Be A Cowboy" and "He's Just As Close To Heaven As He Wants To Be," were earlier released as a single, though apparently those were different versions than the ones included here. The band backing him in the Wichita-based studio seem to be locals, including guitarist Tom DeMaster, Paul Elwood (banjo) producer John Leavitt (piano), Lee Velasquez (bass) and a little bit of flute from Lorraine Webb.

Bennie Holtsclaw "Lots Of Love" (Melody Wings Music, 1981) (LP)
(Produced by John Leavitt, Jr.)
A gospel offering from Cedar Point, Kansas, with a half-dozen Bennie Holtsclaw originals, including a couple that have local, Kansas-specific references, "My Kansas Flint Hills" and "A World Champion Cowboy," a recitation song which pays tribute to a couple of local rodeo riders. Holtsclaw has kind of a tremulous voice, one that I'd perhaps call "churchy," but there's definite true twang on here as well, with fiddle, banjo and mandolin added to a basic, Nashville-style electric-country backdrop, all performed by local artists. This album -- which isn't earthshaking, but has its charms -- was made a long time ago, though Holtsclaw kept writing, recording and self-releasing for years to come, still holding down the fort in Cedar Point.

Bennie Holtsclaw "Jesus Loves Me" (Melody Wings Music, 1982) (LP)
(Produced by John Leavitt, Jr.)

Bennie Holtsclaw "Bring Me My Wings, Lord" (Good Records, 1983) (LP)
(Produced by Dwight Good & Jim Zebrowski)
There's some sort of connection here with a label in Anaheim, California, but Mr. Holtsclaw was still very much a Kansan when he cut this, still living in Cedar Point. He covers a bunch of fairly hip folks -- Dallas Frazier ("The Baptism Of Jess Taylor"), Kris Kristofferson ("One Day At A Time"), Hank Williams ("House Of Gold") and you know me: I'm always in favor of a good version of Alfred Brumley's "I'll Fly Away." The albums originals include the title track, "Bring Me My Wings, Lord," along with "No Vacancy," "Search In Matthew, Mark, Luke And John," and "Won't You Come Unto Me." The backing musicians include Paul Bahn, Tim Jaquette, Tom Keene and Ron Ragon, though sadly there's no indication of who played what.

Homestead & Wolfe "Our Times" (Topo Records, 1975) (LP)
(Produced by JoAnne Avery, Rev. Ernie Bringas & Stan Ross)
A folk/country group from San Jose, California who were associated with the Good Samaritan United Methodist Church in Cupertino; the band's name is taken from the intersection of two streets -- Homestead and Wolfe -- where the church was located.

The Hoopers "It Won't Be Long" (Calvary Records, 197--?) (LP)
This one definitely falls into the "oh, well" category. I mean, I've got nothing against these well-meaning southern gospel hopefuls, but this just isn't a very energetic or overtly joyful album, nor does it sound particularly country (which is what I'm looking for...) The musicians aren't clearly identified, but I think the lineup included lead singer Lonnie Hooper, Dale Hooper on piano and harmony vocals, and a gal identified only as "Karen," who I assume was married to one or the other of these Hoopers, as well as Jim Mostiller (lead guitar), Gary Stowell (drums) and Curt Wiley (bass). Again, I'm not trying to be mean, but I think the main problem was really that Lonnie Hooper was a very hesitant, unconfident, low-wattage vocalist, and whatever instrumental oomph the band may have had was certainly held in check while they stuck to his tempo. It just never really gels, sadly. Not sure where these guys were from, whether this was one of Calvary's homegrown Fresno-area productions, or if they were out-of-state musicians using the label's custom service.

Dorothy Jo Hope & The Pell Brothers "Daddy Was An Old Time Preacher Man" (Pell Brothers Records, 1972-?) (LP)
Here's a cool one. You might recognize the title track, which was a top ten hit for Dolly Parton in 1970... It was co-written by Dolly and her aunt, Dorothy Jo Hope (1929-2008) who also wrote "Daddy Come And Get Me," a gothic country novelty number that Dolly included on another album the same year, with many more to follow. Dorothy Jo was the daughter of Reverend Jake Owens, whose Pentecostal church was one of the first places where Parton performed in public, and she remained a big influence on her niece over the course of years, including a long stint as a performer at the Dollywood amusement park. She's backed here by the Pell Brothers, a bluegrass gospel group from Lafayette, Georgia, whose lead singer, Windell Pell, contributes three original songs, notably his "Working Like A Truck For The Lord." Six tracks were composed by Dorothy Jo Hope, including a new version of "Old Time Preacher Man," which had just been a big hit for Parton. I'm not sure how many other recordings Dorothy Jo made, though she worked as a composer under a variety of names, penning both secular and religious material. She also wrote an autobiographical book, Dolly's Hero about the family history, with lots of info about Dolly and her musical and spiritual roots.

Zeke Hoskins & The Country Gospel-Aires "On The Road" (Baron Records, 1972) (LP)
Hardcore, bluegrass-y country gospel by a family band from Ohio. The group started in the early 'Sixties as the Country Gospel-Aires, but eventually became mainly lead singer Zeke Hoskins' band, and later he brought his sons Mike and Rick into the lineup. Hoskins recorded over a dozen albums of pure gospel twang, with a sound heavily influenced by the bouncy, melodic style of Flatt & Scruggs.

David Houston "Golden Hymns" (Epic Records, 1967) (LP)

David Houston "Next Sunday I'm Gonna Be Saved" (Excelsior Records, 1980) (LP)

Jan Howard "For God And Country" (Decca Records, 1970) (LP)

Jan Howard & Bill Anderson "Singing His Praise" (Decca Records, 1972) (LP)

Buddy Hubbard "He Holds The Key" (Image Records, 197--?) (LP)
(Produced by Allan Maggard & Charlie Maggard)
Twangy and very definitely country-flavored, this was a set of country gospel from Charles Buddy Hubbard of Norton, Virginia, formerly a secular country musician who was born around 1942 and passed away in 2021. For years, Mr. Hubbard performed in a popular Richmond, Virginia honkytonk band called The Coachmen, but struggled with alcohol addiction and substance abuse before getting religion in 1975, at which point he devoted himself to a Christian musical ministry. His albums are notable for their full embrace of a classic country sound, and little of the churchy stuffiness of more mainstream southern gospel. This album was recorded at a well-known regional studio run by producer Charlie Maggard, with steel player Eddie Trent helping anchor the sound. Notably, it includes a couple of original songs penned by Mrs. Madolin Boggs, who also wrote the liner notes.

Buddy Hubbard "Everything He Touches Turns To Good" (Image Records, 197--?) (LP)

Manuel Huffman "...And The Deliverance Mission Blue Grass Band" (West 235 Main Records, 1978) (LP)
A bluegrass-gospel album recorded in Spokane, Washington. The liner notes purport to be an interview in which Utah Philips talks to mandolin player Manuel Huffman about his life. Huffman says he was born in 1910, talks about his early years working in the Idaho logging camps, where he drank to excess and became an alcoholic. Huffman describes about how his boozing dragged him down until he finally got religion, and how a chance meeting in a local record store led to the formation of this band, and to recording this album with a few younger musicians... Whew! Talk about authenticity!

The Hulsey Sisters "The Light House" (Vision Records, 1972) (LP)
A family band from Cos Bay, Oregon. Veanell Hulsey also recorded at least one solo album (below).

Veanell Hulsey "My Journey Is Almost Over" (Gospel Artists Records, 19--?) (LP)
Originally one of the Hulsey Sisters, Veanell Hulsey Johansen also recorded this solo set after participating on at least two other albums with her family band... Recorded at Hilltop Studios in Nashville, this includes five of her own originals, as well as a couple of Dottie Rambo songs. The backing musicians aren't identified, but they were probably some version of Hilltop's house band.

Denzil Hunt & The Gospel Singers "Going Up Home To Live In Green Pastures" (Cabut Records, 1969) (LP)
(Produced by Jim Horn)
A real backwoods-y country gospel set featuring Mr. Denzil Hunt, from West Liberty, Kentucky and a bunch of folks from various surrounding small towns. I'm not sure how many records Mr. Hunt made or played on, though he was the lead guitarist on an album by the bluegrass-based Earls And Whitehead Gospel Singers, made earlier this same year.

The Hurd Family "Old Country Church" (Arlee Records, 19--?) (LP)
Recorded at Southern Sounds studio, in Hickory North Carolina, this album showcases a family band made up of Bernard Hurd and Frankie Hurd, along their three sons, Ken (age 16, on guitar), Richard (11, playing bass) and David (age 7).

Ferlin Husky "Christmas All Year Long" (Capitol Records, 1967) (LP)

Ferlin Husky "Where No One Stands Alone" (Capitol Records, 1968) (LP)

Len & Esther Hutsell "When I Met Him" (196--?) (LP)

Len & Esther Hutsell "In The Valley" (Crusade Enterprises, 196--?) (LP)
(Produced by Ray Harris)
This married couple from Fremont, Nebraska were both clunky vocalists but the guitar pickin' is good and packed with rockabilly-influenced twang. The liner notes indicate that they performed shows throughout the South and upper Midwest, though I'm not sure if they were part of any particular ministry. Most of the songs were written by Len Hutsell, most notably his novelty number, "Guitar Pickin' Preacher Man." There are also a few standards such as "Palms Of Victory," as well originals such as "You Can't Run Away From God," by fellow evangelist, Jim Snyder and one called "Won't You Let Jesus In," which was composed by Esther's uncle Dan McGraw, a minister from Gillette, Wyoming. Her family band, the Grace Victors, with brothers Phil Grace and Steve Grace provided backing vocals as well. Given the twangy, uptempo feel, Hutsell may have started out playing in some local rock band or another before taking up his evangelical mission -- I'm not sure if he's playing lead on any of these tracks, though, as Crusade label staffers Bill Casolari and Pat Baker played on these sessions, and Hutsell is only mentioned as a rhythm guitarist. Anyway, this is a nice one for folks looking for Christian country with a little musical bite to it... Worth a spin, for sure!

The Hynums "Tell Of His Love: Gospel Songs" (Slat's Recording Studio, 19--?) (LP)
(Produced by Gage Hynum)
A family band from Port Gibson, Mississippi, with a repertoire heavily defined by covers of classic southern gospel composers such as Bill Gaither, Stuart Hamblen, Jake Hess, Dottie Rambo, Ira Stanphill and other stalwarts of modern-era southern gospel. Not a ton of info about this one, particularly not on the album itself, which has minimalist liner notes -- no date, no musician credits or even the full names of the band members. (Apparently their first names were Gage, Jeanie, Jimmy, Lawanda and Pete -- not sure if they were all Hynums or not.)

Hick Music Index