Holiday Music | Other Country Styles

The Jackson Family "Lights Of Glory" (Tri-State Recording Company, 19--?) (LP)
(Produced by Bobby All & Rick Salyer)
An appealing -- and unusual sounding -- bluegrass gospel set by a family band from Richlands, Virginia, made up of Larry Jackson on banjo and guitar, his wife Sandra Jackson on guitar, and their two kids, Derrick Jackson (mandolin), and Sherry Jackson (bass). Everyone takes turns singing lead, with the others providing an interesting backing chorus. The music is a compelling mix of standard bluegrass, along with a hint of folkie "progressive" grass, though more importantly a big dose of the ebullient, ecstatic gospel style of Depression-era artists such as Albert Brumley and Alfred G. Karnes, the kind of country gospel I most adore. There's an imperfection here that I also admire, though that's not the same as saying they sound like amateurs -- the picking is quite good, and also filled with innovative arrangements and melodic twists. A lot of original material written by the family as well... This looks like a mid- to late-'Seventies release, and appears to have been their first album, but if they made others I'd sure like to know about it!

Paul Jackson "...Sings Country and Gospel" (Jarelco Records, 1972) (LP)
Okay, so here's the deal: Mr. Jackson ran an ad in Billboard magazine, on September 23, 1972, offering this album for $5.00 per copy (or free to radio stations) and soliciting lyrics from aspiring songwriters, promising them fifty-percent publishing rights. So, yes, he was a song-poem artist, and this was his general time frame. I'm not sure which of these two records came out first, though...

Stonewall Jackson "Old Country Church" (Columbia Records, 1969) (LP)

Wade Jackson "Merry Christmas Country Style With Wade Jackson" (Tennessee Records, 19--?) (LP)
A 20-year career veteran who served in both the Army and Air Force, singer-guitarist Wade Jackson (1929-2020) organized several military bands in the 1950s and '60s. Not only that, but he was the older brother of Nashville star Stonewall Jackson and often worked with his brother, to whom he bore a startling resemblance. At the time he recorded this album, Jackson was apparently a part-time member of the Grand Ole Opry's road show, touring with them in the summer while making "his winter headquarters" at home in Gallatin, Tennessee. This yuletide offering is mostly made up of holiday standards, though also showcases some original material, notably Jackson's own novelty number, "Silly Little Christmas Robot," as well as "Throw A Snowball For Me," credited to Billy Clark. There are no no musician or producer credits (darn it) though apparently some tracks were recorded with a local pastor, Dr. Christian Wright, and some of his church members. If Jackson's secular album that came out around the same time is any indication, expect some real twang on this disc.

Wanda Jackson "Praise The Lord" (Capitol Records, 1972) (LP)

Wanda Jackson "Country Gospel" (Word Records, 1973) (LP)

Wanda Jackson "Now I Have Everything" (Myrrh Records, 1975) (LP)

Wanda Jackson "Make Me Like A Child Again" (Myrrh Records, 1976) (LP)

Wanda Jackson "Closer To Jesus" (Word Records, 1978) (LP)

Wanda Jackson "My Testimony" (Word Records, 1979)

Wanda Jackson "My Kind Of Gospel" (Tab Records, 1984)

The Jacobs Brothers "Country Gospel Favorites" (Pillar Productions, 19--?) (LP)
(Produced by Don Horst)
A family band from somewhere in Pennsylvania, singing mostly deep standards from the gospel canon -- tunes from the Stamps-Baxter catalog, Albert Brumley, Thomas A. Dorsey, Dottie Rambo, and Laverne Tripp, and even a real oldie from the 1880s, Eliza E. Hewitt's "More About Jesus." There is one original on here, "The Gift Of Love," that's credited to one of the Jacobs lads, though alas we cannot say which one, as there are no musician credits on the album, or even an exact address to tell us where they were from. Not sure about the release date -- it looks like it could be from the late 1970s or even the early 'Eighties. Swell repertoire, though!

Jake & Fennie "Have You Lost Your Way?" (Dominion Records, 19--?) (LP)
This would be the husband-wife duo of flat-top picker Jacob D. Willard (d. 2011) and Glenda "Fennie" Willard (1931-2010) of Roanoke, Virginia, backed on this early 'Seventies album by a group called The Hearts Of Gold: Burk Barbour (fiddle), Troy Brammer (banjo), Carl Mannix (bass), Larry Robinson (bass, and flat-top guitar) and Jerry Wood on mandolin. Some great down-home bluegrass gospel that nonetheless has a layer of cleancut 'Sixties folk revival to it, a little bit of The Kingston Trio, perhaps, but it gives their music a distinctive feel amid the normally brisk trad-grass scene, and also doesn't resemble the rock-influenced progressive hippie pickers. In a way it reminds me of John Hartford, who enjoyed a similar crossover of styles, conscious of an older, squarer show-business world while deeply rooted in the music of the hills. There are some classic songs by Albert Brumley, three by William York, and two Jake Willard originals, "Have You Lost Your Way" and "Wheels Going Home." For her part, Fennie had a great rural voice with a hint of Kitty Wells to it -- it sure would be nice to hear more of her work! She's credited as playing drums on this disc, though apparently she was a pretty good bass player, too.

Lois Jane (Neal) "One Of God's Sheep" (Lois Jane Neal Records, 1966) (LP)

Lois Jane "Across The Bridge" (Big Gospel Records, 1968-?) (LP)
(Produced by Wally Fowler & Rick Shea)
A teenage country gospel prodigy from Kentucky, Lois Jane Neal sounded a little like her fellow Kentuckian Loretta Lynn, uptempo and very rural, with legitimately twangy backing. Still in high school when this late-'Sixties album came out, she was a featured performer on Wally Fowler's syndicated TV show. Although this wasn't her first LP, she had been recording singles for several years, at least back as far as 1962, when she would have been about eleven or twelve years old. She built up a loyal following in the regional gospel scene in the 1970's and '80s, and continued her musical ministry online in years to come.

Lois Jane "Come Along With Me" (Praise Song Records, 197--?) (LP)
This mid-Seventies album had a note of pop-country twang to it, a nice post-countrypolitan sound. Pretty darn Jesus-y and PTL Club, but with a fairly legit country sound.

Lois Jane "Lois Jane" (QCA Records, 1979) (LP)
(Produced by Vic Clay, Charles Novell & Chuck Seitz)

Lois Jane "The Singer" (Lois Jane Records, 19--?) (LP)

Janice "Janice" (Benson Sound, 197-?) (LP)
(Produced by Larry Benson)
Country gospel singer Janice Stevens made the trip from Antioch, California back east to Oklahoma City, where the Benson studios gave her some pretty decent backing... The album opens with a rollicking, pure country arrangement of "Oh, What A Happy Day," and even on some of the sleepier tracks there's plenty of satisfying pedal steel, courtesy of Doug Campbell, and lead guitar by Charlie Arthur. Sometimes the backing has a lax, indifferent feel, and it has to be admitted that even with her Donna Fargo-esque country influences, Ms. Stevens wasn't always in top form as a vocalist -- keeping the beat was a particular challenge -- but there are hints of a stronger potential. Certainly if given more studio time, she could have held her own as a secular country singer. Not dazzling, by any means, but there are some nice moments.

J. D. Jarvis "Take Your Shoes Off Moses" (Gospel Gems Records, 1965) (LP)
A native Kentuckian, John Dill Jarvis (1924-2010) was one of countless Appalachian migrants who moved through the Rust Belt looking for work during the Great Depression, both as a laborer and a musician. One of his main stomping grounds was in southwestern Ohio, although he frequently lived and worked in Kentucky as well, before finally settling permanently in Hamilton, Ohio, a northern suburb of Cincinnati. Along the way he recorded with a number of famous bluegrass and country artists, notably backing fellow Kentuckian Claude Ely on a gospel album Ely cut for King Records in the late 1950s -- he was also friends with Ralph Stanley, who wound up recording several songs Jarvis had written. Mr. Jarvis was a prolific recording artist and organized several different bands though one of his most frequent collaborators was Harley Gabbard, who backed Jarvis on a bunch of singles and albums. I'm not 100% sure, but I think this was Jarvis's first full LP, one that I've only heard tell of, but still dream of catching in the wild.

J. D. Jarvis "Old Time Country Gospel" (Rural Rhythm, 1968) (LP)

J. D. Jarvis "The Hyden Miners Tragedy" (Down Home Records, 19--?) (LP)

J. D. Jarvis "Bluegrass Hymn Time" (Jewel Records, 1967-?) (LP)
(Produced by Rusty York)
A solid gospel set with fairly conventional, if restrained, bluegrass arrangements. Mr. Jarvis really throws himself into his vocals, and gets crisp, concise backing from veteran pickers Noah Crase (banjo), Harley Gabbard (dobro), Dennis Hensley (rhythm guitar), Paul Mullins (fiddle), and Jackie Sanderson on bass. The liner notes say that this was the "7th in a series of long play albums for J. J. Jarvis," though it's not clear if they mean over his whole career, or just for Jewel Records. Most of the songs are his own originals, with a few cover tunes by the likes of Cowboy Copas, The Stanley Brothers, and one by a guy named Earnest Martin. Not a lot of stylistic variety, but it's all great stuff.

J. D. Jarvis & Lillimai Whitaker "The Old Crossroad" (Jewel Records, 1968-?) (LP)
(Produced by Rusty York)
A superlative set of hardcore, backwoods, country/bluegrass gospel... This was the first collaboration between Ohio old-schoolers J. D. Jarvis and Lillimai Whitaker, two hyper-rural artists who were avatars of rough-edged authenticity. They are joined by an amalgam of her band, The Southern Gospel Singers, and various musicians in his orbit, a group that included Curnie Collins on bass, Harley Gabbard (dobro and fiddle), Noah Hollon (banjo) and Charlie Whitaker on mandolin (and some of the lead vocals). Lots of classic songs, great music. An excellent album, particularly for bluegrass fans eager to escape the too-perfect musicianship that overtook the genre, oh so many years ago.

J. D. Jarvis "I Got Up With Heaven On My Mind" (Artists Records, 1970-?) (LP)

Jay "In Nashville" (Coda Records, 1982) (LP)
(Produced by Tracy Dartt & Ronnie Light)
A contemporary Christian/southern gospel set... Not sure how "country" to consider this one, though it was recorded in Nashville, with Ronnie Light at the helm as producer, so... probably worth having on our radar. "Jay" was a mononym for singer Jay Morse, who the liner notes say had moved to Nashville before cutting this album. This includes original songs by Mr. Morse, along with co-producer Tracy Dartt, and others... No musician credits, alas.

Gladness Jennings "Gladness At Cash's" (Marvel Records, 19--?) (LP)

Gladness Jennings "Happiness Is Gladness" (Marvel Records, 19--?) (LP)
(Produced by Jack Linneman)

Gladness Jennings "Instant Gladness" (Marvel Records, 19--?) (LP)

Gordon Jensen & Sunrise "Sunrise" (Rockland Road Records, 1976) (LP)
(Produced by Wayne Hilton & Fred Cameron)
As far as I can tell, this was the first "solo" album by Gordon Jensen, a prolific Christian music songwriter who had previously been in a '70s Southern Gospel band called the Orrells, which he transmuted into the group Sunrise. Jensen was born in Canada, but emigrated to Nashville to be part of the Southern Gospel scene. In 1969 he helped revive the Orrell Quartet along with Larry Orrell and Wayne Hilton, with Jensen as the group's primary songwriter. On this album, Jensen pursues a fairly straightforward country sound, with Tony Brown on keyboards, Fred Newell playing lead guitar, and John Rich on pedal steel; the Carol Lee Singers also back them up on a couple of tracks.

Gordon Jensen & Sunrise "Sing The Best Of The Orrells" (Rockland Road Records, 1977) (LP)
(Produced by Wayne Hilton & Fred Cameron)
This album was a full-on homage to the group that gave Jensen his start, with pretty much the same group of Nashville pros backed Jensen on his previous album. It's worth noting that Tony Brown -- who was on his way to becoming one of commercial country's best and brightest producers -- had come from a southern gospel background himself, including a long stint in the pre-secular edition of the Oak Ridge Boys.

Gordon Jensen & Sunrise "The Glove" (Essence Records, 1978) (LP)
(Produced by Wayne Hilton)
More country gospel from the Sunrise band... Wayne Hilton is still on board as rhythm guitarist and producer, helming a Nashville studio crew with plenty of oomph... I'd be willing to bet that the "Marty Stewart" credited as playing flat-top guitar and mandolin is in fact Marty Stuart, future country star, probably doing some session work after leaving Lester Flatt's band...

Buddy Jewell "I Surrender All" (Diamond Dust Records, 2011)
(Produced by Michael Bush & Buddy Jewell)
An independently-released, all-gospel set from this former Top-40 contender and reality-show winner... The title track and others are a little too tinkly and Southern gospel poppy for my tastes, but others have a nice, twangy vigor. "Hell Bent And Heaven Bound" has a nice trucker-song feel. while "Jesus, Elvis And Me," and his version of "There Is Power In The Blood" have a strong, thumping backbeat. I think Jewell sounded better with a bigger studio budget behind him, but if you're a country gospel fan, this is certainly worth checking out.

Jim & Jennie "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, He Walks Beside Me a few years later, also on Jessup Records.

Jim & Jesse "Old Country Church" (Epic Records, 1964) (LP)

Jim & Jesse "Sing Unto Him A New Song" (Epic Records, 1966) (LP)

Jim & Jody (Pearson) "We Have This Moment Today" (Sword & Shield Records, 1982) (LP)
A charming country gospel set by an evangelical husband-wife duo who were also owners of the Double J Ranch in Stamford, Nebraska. They went to Texas to record this at the Sword & Shield studio in Arlington, with a very country-sounding backing band, including Junior Knight on steel guitar and banjo. There are two originals on this album, Jim Curry's "Jesus Feet," and Janet Potter's "You And Me And The Lord," though most of the material comes from established gospel artists such as the Gaithers and the Stamphills, as well as a version of Hank Williams's "I Saw The Light." Plenty of twang (yay!) and although neither one of them can stay in tune, they're so enthusiastic it's pretty hard not to like 'em.

Jim & Leon "We're Pickin' 'N' Singin' Gospel Bluegrass" (Vision Records, 19--?) (LP)
(Produced by Bernie Vaughn)
That would be gospel bandleader Leon Harris and his eighteen-year old banjo pickin' son Jim, of Denair, California's Singing Harris Family, taking a trip to Nashville, where they got some pretty high-power help at the Marty Robbins Studio. Along with the Harris fellas, the sessions included bass player Dewayne Gary, Doug Jernigan (dobro), Benny Kennerson (piano), Steve Nath (drums), and Bruce Watkins on fiddle and guitar. It seems likely that a second bass player, Noel Walters was a relative of Wayne Walters, the onetime leader of The Christian Troubadours, who moved to Nashville at some point and started his own studio, specializing in gospel artists.

Jimmy & Kathy "...Sing Tell It Like It Is" (Ardco Records, 19--?) (LP)
(Produced by Hal Southern)
A husband-wife gospel team from Lincoln Park, Michigan, backed by a local gospel group called The Singing Martins, including J. C. Fralix on rhythm guitar, Wheeler Jackson (steel guitar), Charlene Martin (piano), Kelvin Martin (bass) and Leonard Moore on lead guitar. Though most of these musicians are unknown, J. C. Fralix had been at this for a while, notably composing "They Tore The Old Country Church Down," a song written in 1964 and covered by Happy Goodman, The Browns, The Rambos, and others, back in the mid-1960s. According to the liner notes, Mr and Mrs. Pittman were born in West Virginia and Ohio, respectively, though were definitely Michiganders when they cut this album. The repertoire includes three original songs credited to Jimmy Pittman, and two more by Alex Pittman, along with Dottie Rambo's "Sheltered In The Arms Of God" and a lesser-known Louvin Brothers tune, "I See A Bridge."

The Joaquin Singers "Country Church" (KLOC Records, 1964-?) (LP)
A marvelously country-flavored set from The Joaquin Singers, a Pentecostal gospel quartet from Modesto, California, made up of three sisters -- Betty Campbell, Eva Campbell, and Crystella Baughman, along with Mrs. Baughman's daughter Deborah, who was twelve years old when this album was made. They are joined by the Rev. Doyle Gadberry (bass), Jerry Houston (steel guitar), Carl Jackson (lead guitar), T. J. Baughman (rhythm guitar), and J. B. Scott (rhythm guitar) who provide plenty of tasty riffs on lead guitar and steel, echoing the classic sounds of Chet Atkins, Merle Travis, Hank Williams and others -- true hillbilly twang. The sisters were all real-deal Dust Bowl okies, born to the Mott family back in Oklahoma, though the Motts moved to California towards the end of WWII, around 1944, and the gals grew up in Modesto. Mr. Baughman (1925-2016) was also an Oklahoman, though he came to California after serving in the Army during the war. The liner notes detail how in 1960 the group was signed to a contract with Corbett "Red" Pierce, the co-owner of KLOC, a radio station in Modesto that also formed its own record label and released a small string of singles and albums by various local artists, including a few by Mr. Pierce. (KLOC went on the air in October, 1963, so presumably this album was made sometime after that...) Also worth noting is that Doyle Gadberry was an Oklahoman who also led his own gospel group, The Singing Gadberrys, who recorded at least one album. This disc contains a wealth of original material, much of it credited to Paul Houston and several other locals publishing their work through San Joaquin Publishing Company, presumably an offshoot of KLOC. Great stuff, heartfelt and pure.

The Joaquin Singers "Light Of The World" (KLOC Records, 19--?) (LP)
(Produced by Roger Thiesen)
A wonderfully unruly, super-rural set, with deliciously old-world vocals and plenty of twang. The group is joined by local guitar picker Leon Whitehead (1939-2008) a Pentecostal minister who also picked some fancy guitar, and was already known as a musician before joining the Joaquin Singers. Among the many originals on this album are three penned by Mr. Whitehead, "Footprints Of Jesus," "Light Of the World" and "Pilot's Hall," which kick the album off. (Thanks to the Porterville Music Society for tipping us off to this one, and posting the album on YouTube... Long may you reign!)

The Joaquin Singers "The Last Mile" (KLOC Records, 1973-?) (LP)
(Produced by Roger Thiesen)
A more sedate, though no less resonant, gospel set from these Central Valley singers. This disc was recorded at radio station KLOC, in Modesto, the site of several intriguing recording sessions in the 1960s (and maybe early 'Seventies) and it's possible some of the musical backing came courtesy of the station's in-house staff musicians... At any rate, from the opening notes of Floyd Cramer-esque dripping piano, it's clear The Joaquin Singers were aiming for a bigger, slicker sound, more in line with the countrypolitan vibe in Nashville, but despite the attempt at posh musical framing, they remained resolutely and inalterably rural, a chorus of back-forty Kitty Wellses who not only pronounce the word "wash" "warsh," they do it in keening four-part harmony. Likewise, the musical backing ultimately stays true to its roots, with an underlay of sweet Chet Atkins-y guitar riffs and the occasional Merle Haggard-like chord progression. The group is pictured on the back cover as a seven-piece band, four gals and three guys: including Crystella Baughman, Deborah Baughman, T. J. Baughman, Betty Campbell, Eva Campbell and J. B. Scott, and composer/picker Leon Whitehead. Sadly, though, there's no indication of who sang which parts, or played which instruments. The whole album is quite satisfying, though and seems to be packed with original material, and plenty of that persuasive spiritual authenticity that gives some gospel music a magical feel. The big surprise comes at the album's end, with an electrified country-rock number, "Lead Me Through This Land," which still showcases their rough, rural vocals. Not sure when this album came out, but it may be much later than you'd think.

The Johnson Family Singers "Sunday Morning In Dixie" (Binge Discs, 2003)

Polly (Johnson) & Mary Jayne "Singing Together... Like We Did Back Home" (Word Records, 1965-?) (LP)
(Produced by Kurt Kaiser)

Joey + Rory "Inspired: Songs Of Faith And Family" (Gaither/Spring House Records, 2013)

Polly Johnson "...Sings Songs From The Old Country Church" (Gospel Records, 1962-?) (LP)
A nice, understated, and very well-performed set of gospel standards, along with a little new stuff by composers such as Herb Kallman. This is, relatively speaking, a country set, though perhaps in the same sense as -- oh, I dunno, Eddy Arnold's tribute to Fanny Crosby, or all of those Jimmie Davis albums. Mostly the arrangements hinge on a lightly-tinkled piano, although some spotlight a little bit of guitar and steel... though only a little. Her voice is quite good: it's more in the perfect-intonation style of pop singers like Connie Francis, et.al. though also very much like Skeeter Davis, if she were willing to give it a little more ooompf. No hillbilly stuff here. Originally a farmgirl from South Dakota, Polly Johnson (1940-1964) was probably best known for her part in the booming West Coast country-gospel scene of California's Great Central Valley, most notably her collaborations with Contemporary Christian star Mary Jayne Gaither, who was her duet partner in the early 1960s when they both worked up around Sacramento, including co-hosting a local TV show. Before Johnson moved to California in 1962, she had a fairly dynamic career as a secular country gal. Back home around Rapid City, she appeared on radio and TV and even did a brief tour entertaining US troops in Puerto Rico. Although this album's liner notes make it sound like she got born again after moving out West, research done by hillbilly-music.com makes it clear she was getting active in Christian enterprise before then, having already met Mary Jayne in Minnesota, forming a strong friendship with the young religiously-oriented gal before they both headed out West. Polly Johnson's life ended in a spectacularly tragic fashion when she took a flight to Stockton that crashed after a mentally disturbed hijacker shot the pilots and himself, causing the deaths of all on board. Johnson's death was said to have caused singer Sue Brown, another friend from the Valley, to abandon secular country in favor of evangelical gospel music. As far as I know, this was her first album; no info on who was backing her, though the label identifies itself as a "Don Smith Enterprise."

Polly Johnson "I Found The Answer" (Word Records, 1964-?) (LP)

Polly (Johnson) & Mary Jayne "Singing Together... Like We Did Back Home" (Word Records, 1965-?) (LP)
(Produced by Kurt Kaiser)

Windy Johnson & The Messengers "Country Boys... Bound For That City" (Score Three Productions, 197-?) (LP)
(Produced by Windy Johnson & Donnie Register)
Darn it! I got all excited because of the overt reference to "country" in the title, but while the album does indeed open with a few promising notes of steel guitar and subdued twang, it quickly settles into a standard-issue Southern Gospel, of the classic Blackwood Brothers/Stamps family style. This group from Jacksonville, Florida recorded numerous albums with various lineups over the years... This edition included Windy Johnson and his wife Mary Ellen, along with three vocalists to provide the quartet sound, as well as lead guitar and producer Donnie Register, drummer Tommy Holloway and bass player Jim Johnson, Jr. There's a distinct lack of restraint as the album goes on: Mr. Johnson and lead vocalist Ronnie Combs try to outdo one another in showboating solos, and while it's swell to hear they both a good set of pipes, it does tend to distract a bit. I picked this one out of a pile of several Windy Johnson albums; it was enough to satisfy my curiosity.

The Jones Family "Sunnyland Records Presents The Singing Jones Family" (Sunnyland Records, 197--?) (LP)
(Produced by D. L. Hardin)
Nothing flashy here, just a family band singing their little hearts out amid unpretentious, enthusiastic amateur picking and plunking. Sadly, the liner notes to this budget-issue private press album neglect to tell us where the Jones Family was from, though it does list them by name, with mom'n'dad Dot Jones (rhythm guitar) and D. A. Jones (bass) along with their teenage daughters, Linda (piano) and Rose (drums) all pictured together on the back cover smiling in front of their big mobile home/tour bus with "The Singing Jones Family" emblazoned on the side. This is one of the "beach label" private albums, one of dozens that use the same prefab stock photo on the front, along with a Nashville address for the label. Musically, it's a little more old-school than many indie gospel LPs; not so much southern gospel and slightly more country. It's charming.

Fern Jones "The Glory Road" (Dot Records, 1959)
Long-lost late-1950s gospel sessions with a rockabilly tinge... Jones was a little-known regional performer who hooked up with some pretty impressive heavyweight talent for these religious recordings, including pianist Floyd Cramer and guitarist Hank Garland... (Reissued on Numero Records in 2005.)

George Jones "Country Church Time" (Mercury Records, 1959)

George Jones "Homecoming In Heaven" (United Artists Records, 1962)

George Jones & Tammy Wynette "We Love To Sing About Jesus" (Epic Records, 1972)
Aw, shucks... who doesn't??

George Jones "In A Gospel Way" (Epic Records, 1973) (LP)

George Jones "The Gospel Collection" (BMG/BNA Records, 2003)
(Produced by Billy Sherrill)
Another amazing late-career album by the indefatigable George Jones. His old pal, Billy Sherrill, came out of retirement to helm the production of these two dozen tracks, and it's all top-notch material, striking just the right balance of solemnity and schmaltz. These are mainly old gospel standards, from "Amazing Grace" and "What A Friend We Have In Jesus," along with some newer songs, such as "When Mama Sang (The Angels Stopped To Listen)," all delivered with the seriousness and soulfulness that are George's trademark style. Anyone, from a true Southern Gospel aficionado to a diehard honkytonk fan, should be able to jump on board with this one. Talk about heavenly!

Monty Jones "I'm Looking For Him Today" (Chapel Records, 19--?) (LP)

Monty Jones "I Know Who Holds Tomorrow" (Chapel Records, 19--?) (LP)
A self-taught musician, steel guitarist Monty Jones inherited his older sibling's guitar when his brother shipped off to fight in World War Two, and worked to master the instrument while still a pre-teen. A few years later, at age thirteen, he began playing professionally in a local "dance band," though he quit after he got religion when he turned eighteen and joined the Seventh Day Adventist Church. Jones then studied theology at a small Christian college near Sacramento, California, graduating in 1957 and going on to become an evangelical musician, along with his wife, organist Donna Leach-Jones, who accompanies him here. Steel guitar fans might be wowed by the instrument Monty Jones created in his high school woodshop class, a four-necked custom model, made with parts purchased from the Fender guitar company, and pictured on the back cover. This is a pretty low-key album, a far cry from the kind of rambunctious steel playing you might hear on a western swing or honkytonk album, but Mr. Jones had nice tone; the pairing of his steel playing and his wife's churchy organ seems a little off-balance, though steel fans might still dig this all-instrumental set. (Mrs. Leach-Jones also recorded an album for the Chapel label, Jesus, Name I Love, which was recorded before these two albums by her husband.)

Ramona Jones "Old Time Christmas" (Grandpa Jones Records, 1987) (LP)

Rudy Q. Jones "A Soldier For Jesus" (Warrior Records, 1968) (LP)
(Produced by Gary Carlson & Dennis Coats)
Originally from Ada, Oklahoma, multi-instrumentalist Rudy Quinten Jones (1943-2015) was best known as a dobro player, as well as a luthier specializing in building resophonic guitars. Before moving to Florida, Jones worked with a number of local Okie artists, notably Ed & Jolene Bullock, whose first couple of albums he played on and helped produce. This disc was his debut, a country gospel set that was both sincere and maybe a bit tongue-in-cheek, with a ragged, amateurish enthusiasm that reminds me quite a bit of Gram Parsons' early stuff. Fascinating bluegrass band backing him: producers Gary Carlson and Dennis Coats had their own bluegrassy duo, later recording a couple of albums in the early 'Seventies, and Coats landing one of his songs on a John Denver album. Bassist Roger Bush was, of course, an early progressive bluegrass artist, holding down the rhythm section of the fabled Kentucky Colonels, and dobro picker LeRoy McNees was later a co-founder of the Born Again Bluegrass Band. This is a nice little record... A little rough around the edges, but charming and sincere.

The Joplin Family "Not My Will But Thine" (Nor-Vel Records, 1966-?) (LP)
Truly twangy country gospel by a family band from Ringgold, Georgia, led by singer-composer William Leon Joplin (1932-2001) and his wife, Mary Frances Brockman Joplin (1927-2015) who were joined by a band called The Trutone Trio, who are not mentioned in the liner notes, or by their names. As with many private-press gospel records, there's no release date and little online documentation, though I think this was their first album, and the group may not yet have included their daughter Faye, who is credited on later records. This lineup may have lasted several years, based on a plug for a local show in Butler, GA at the start of 1969: the article claims that "these groups have made several LP albums," but this is the only one I've seen so far. Anyway, if you're looking for Southern Gospel with real country twang, this disc's a doozy, packed with fancy guitar pickin,' ala Chet Atkins and Merle Travis. Also notable is the wealth of original material, including seven songs penned by Leon Joplin, as well as a few public domain tunes, an old Jimmie Davis song ("Crown Of Thorns") and a lively version of Albert Brumley's "I'll Fly Away." Nice stuff!

The Joplin Family "Boast Not Thyself Of Tomorrow" (Rymar Records, 1967-?) (LP)
The second album by the Joplin Family, with separate billing for singer-guitarist Jim Owens, who eventually married daughter Faye Joplin, and got separate billing on a couple of their albums. The group is pictured as a quartet on the back cover, though several other musicians are listed as playing on the studio session, including John Miles (piano), Curtis Center (drums), Jerry Hood (rhythm guitar), J. D. Howard (bass), and Robert Henson on guitar. Along with a number of public domain and other cover songs, the album showcases two more Leon Joplin originals, "The Unwanted Savior" and the title track, "Boast Not Thyself."

The Joplin Family "Glad Day" (Ranel Records, 19--?) (LP)
Once again Leon and Mary Frances Joplin are joined by their daughter Faye and her now-husband, Jim Owens, as well as guitarist Robert Henson, another longtime collaborator from their hometown crowd. According to the liner notes, this was their third album, and came out in at least two different editions, one without and one with a cover photo -- one including a picture also singles out Jim Owens as a soloist. The musician credits are interesting, though, as the text of the liner notes mentions a local piano player, nineteen-year old Cindy McRoy, although she doesn't also appear in the list of session musicians; my guess is that the Joplins had one lineup for their studio recordings, and another that played at their local shows. The musicians on this album include the Joplins, along with Jim Owens, Faye Owens, Virginia Davis (piano), John Edwards (drums), Jerald Hood (rhythm guitar), J. D. Howard (bass), and Robert Henson on guitar. Also appearing is their younger daughter Debbie into the band, who made her recording debut on this album, singing lead on one track, "Glory, Glory To The Lord."

The Joplin Family "The Joplins" (Joplin Family Records, 19--?) (LP)
(Produced by Elmer Cole & Lee Peterzell)
This is a much later recording than the Joplin Family albums above, made in the early 1980s by the looks of things. (The liner notes mention the band having been together for 22 years, but gives no specific dates...) The main group is a quintet of singers: Frances and Leon Joplin, along with daughters Debbie and Faye, and Faye's new husband, Troy Dyer, who contributes a couple of songs. There are also two originals credited to Mr. Joplin, "In A Vision" and "Savior Saved By Grace." Longtime collaborator Cindy McRoy plays piano alongside a studio band that included bass player John Chancey, James Goss (rhythm guitar), Lari Goss (piano), Roni Goss (bass), session player John Rich on lead guitar and steel, and a couple of different drummer, Bruce Hayes and Rick Parker. This may have been the group's last record: Mrs. Joplin's obituary mentions the family band being around for thirty years, indicating that they retired from performing sometime in the early-to-mid- 1990s, several years before Mr. Joplin passed away.

The Jordan Family "Sings, Sings, Sings, Sings, Sings" (Marco Records, 1966-?)
Deliciously hyper-rural country gospel by a family band from (I think) somewhere around Commerce, Georgia (where the cover photo was taken). Led by the family's father, guitarist R. L. Jordan, the group recorded several albums in the 1960s and early '70s, with an evolving membership that changed as the kids got older. The liner notes imply they'd made a few records before this one, though their titles may be lost to the tides of time; Discogs lists several that came later. The lineup includes R. L. Jordan on guitar, along with his wife Bonnie, daughter Laverne (pictured with her accordion) and younger sons Gerald and five-year old Robin Jordan, who "makes his commercial debut" on this album, with a brace of painfully (but hilariously) out-of-tune little-kid vocals that round out Side Two. (Personally, I find it kinda sweet that his folks indulged themselves and let the kid belt it out, not worrying about totally getting it "right...") They seem to have traveled to Gastonia, North Carolina to record this set at the Marco Records studio, where they got sympathetic backing from a group that included organist Patsy Dowell, Willie Hall (bass), Bob Pauline (accordion and piano) and perhaps most notably guitar picker Darrell Garver, a well-known local who idolized Chet Atkins, played in a 'few local bands in the 'Sixties, and was tapped to tour with Carl and Pearl Butler in the late 'Sixties, working on the road for over decade before settling down in 1977. This isn't a great record, exactly, but it is very, very authentic, and taps into older, rougher country traditions that predate the modern honkytonk and countrypolitan styles of the times. I dig it.

The Jordan River Boys "Gospel Time With The Jordan River Boys" (Marco Records, 1966) (LP)
Organized by Rev. Thomas L. Rogers way back in 1958, the Jordan River Boys were a bluegrassy band from near and around Gastonia, North Carolina, with band members on both sides of the state line. The lineup here included Rev. Rogers, along with John Hudson, Joe Moore and Alfred Price, all playing in a back-to-basics gospel set (though I regret to inform you the liner notes don't tell us who played which instruments... oh, well.) This album was in part a souvenir of the band's radio show on WTYC, Rock Hill, a South Carolina station where they had a weekly show, every Sunday at dawn. I'm not sure what, if any, connection they may have had to the Jordan Family (above) a group that also recorded for the Marco label at the same time -- as far as I can tell, it was just a coincidence.

The Jordanaires - see artist discography

Mary Joyce "Country Gospel" (Meadowlark Records, 1978) (LP)
(Produced by Bernie Vaughn & Bob Angel)
A country-flavored gospel album featuring nine original songs composed by Bob Angel... The Meadowlark label was from Grand Forks, North Dakota, though Ms. Joyce went to Nashville to cut this disc at Doc's Place studio, with a top-flight band behind her, old pros such as steel player Sonny Garrish, Bunky Keels, and Greg Galbraith on lead guitar, with vocal backing by the Allen More Singers. Producer Bernie Vaughn plays violin and arranged the songs.

Mary Joyce "Country Gospel" (Meadowlark Records, 1989) (LP)
(Produced by Bob Angel, George Hastings & Wayne Edmonton)
Ten years later Ms. Joyce, a Fargo native, went back to Nashville to cut this centennial tribute to her home state. She reunited with several of the Nashville cats who backed her a decade earlier, including Grega Galbraith and Sonny Garrish. Bob Angel once again provided a lot of the original material, as did other locals from Grand Rapids and environs, such as Johnny Bass, George Hastings, Brent Hermans, Verena Sattler, and Bruce Stewart. Although there is some gospel material, most of the songs are regional pride numbers such as "My Heart's In North Dakota," "North Dakota Woman," and "You, And North Dakota Nights," as well as a historical number called "Ballad Of Teddy Roosevelt."

The Judds "Spiritual Reflections" (Curb Records, 1996)
A gospel set that includes the hit "Grandpa (Tell Me Bout The Good Old Days)," along with a bunch of religious standards.

Junie Lou "...Sings For You" (Process Record Company, 1961-?) (LP)
A mix of secular country and gospel from a gal who was born in Pennsylvania hill country and sang on local radio stations and in regional jamboree shows, starting out in a duo with her sister, Bonnie Jo, while still a kid. She formed her own band, the Pine Hedge Ranch Hands, and worked with regional country empresario Howard Vokes on a radio show led by a fella named Uncle Early. At the time of this album, Junie Lou was working a gig at a venue called the Shady Lake Jamboree, backed by a vocal trio apparently made up of three of her younger sisters -- Linda, Nancy and Sue -- who were billed as the Jamboree Sweethearts. There's no release date on here, but the liner notes mention that the song "Caroline" was penned in honor of Caroline Kennedy's fourth birthday, so that would place this session sometime in '61. The disc was pressed by Rite records, for those of you who keep track of such things.

Just Plain Bill "Welcome Aboard The Glory Train" (More Records, 1973-?) (LP)
(Produced by Leo A. Campbell)
Sorry, folks, but I am a total sucker for unpretentiousness, and a guy who uses "Just Plain Bill" as his stage name has got me in his corner from the word go. Bill, as it turns out, was Mr. William Bewell, of Litchfield, Maine, who played guitar and sang at Spears Corner Baptist Church in the nearby town of Gardiner. He was a big rig truck driver by profession, but also a songwriter, penning all the songs on this album of original material. Alas, the musicians backing him are not listed by name, so that information is probably lost to the tides of time... but the music still exists, as does the charm of his gosh-shucks presentation.

Hick Music Index