Holiday Music | Other Country Styles

Kevin Mabry & Liberty Street "Green Scene" (Rome Records, 19--?) (LP)
(Produced by Kevin Mabry & Jack Casey)
A popular local artist and concert organizer from Ohio, Kevin Mabry led the band Liberty Street for several years before becoming born again in 1984, after which he devoted himself more fully to Christian music, founded his own ministry later in the decade. Pointing towards Mabry's later focus on Christian music, this was a Christian/Christmas album with a couple of Dallas Holm songs on it, one by Gary Paxton, and a few secular songs as well, including "Thank God I'm A Country Boy" and "Tennessee Waltz." Of particular note on this album is the album's pianist and fiddle player, a very young Lionel Cartwright, an Ohio prodigy who was several years away from his 1990s breakthrough in Nashville.

Warner Mack & His Sister Dean "Songs We Sang In Church And Home" (Decca Records, 1967) (LP)

Maddox Brothers & Rose "A Collection Of Standard Sacred Songs" (King Records, 1956)
Gospel recordings from the 1950s... Real good stuff!

Lester Maddox "God, Family, And Country" (Lefevre Sound Records, 1971-?) (LP)
(Produced by James Goss & Pierce LeFevre)
This gospel album was part of arch-segregationist Lester Maddox's charm offensive after he left the Georgia governor's mansion in the early 1970s... (The phrase, "God, Family, And Country," was Maddox's campaign slogan for a number of rallies he held throughout the early 'Seventies.) On this album, Maddox lectures, sings and whistles, sandwiching in fundamentalist hymns such as "I'll Fly Away" and "He Touched Me," between whatever political points he wished to make at the time. He's backed by the Goss Brothers bluegrass band, which was affiliated with Myron LeFevre's family-run recording studio; southern gospel stars Hovie Lister & The Statesmen Quartet also provide vocal support. The liner notes portray Maddox as a self-made man from humble beginnings, a guy who took all sorts of working-class jobs before opening his own store (the infamous Pickrick restaurant, where he refused to comply with a court order to serve black customers, and menaced nonviolent integrationists with axe handles...) Not one to shy from the issues of the day, in his liner notes Maddox also offered this pearl of wisdom to help bridge the divide in the hippie-era Generation Gap: "I never took a trip on drugs and got turned on for crime, anarchy, drugs and immorality because I took a trip down the aisle of my church in 1932 and got turned on for God." Groovy, man. Far out. Anyway, I'm not criticizing the choice of musical material, but you could probably find other versions of these same songs which might come from singers better suited to offer a message of Christian brotherly love...

Rose Maddox "Precious Memories" (Columbia Records, 1958)

Rose Maddox "Beautiful Bouquet" (Arhoolie Records, 1977)

Wade Mainer "Soulful Sacred Songs" (King Records, 1961) (LP)

The Majestic Sound Quartet "Enjoy" (Shine Records, 19--?) (LP)
(Produced by Johnny Minnick)
Standard-issue southern gospel with solid pop-country backing, recorded with backing by a studio band at Pinnacle Sound Productions, in Little Rock, Arkansas. The music is genuinely twangy, though the quartet's vocals are a bit more pedestrian, evoking The Statler Brothers or the Oak Ridge Boys, competent but not always all that inspiring. The group included Larry Barrentine (bass vocals), Paul Rhodes (tenor), and brothers Larry Stewart (lead) and Phil Stewart (baritone) with backing by Larry Stewart on bass guitar, along with producer Johnny Minnick on keyboards, Dave Dyer (drums), Ed Nicholson (lead guitar), Rudy Osbourne (steel guitar), and Phil Stewart on rhythm guitar. Though there re a couple of lapses into gooey contemporary Christian arrangements, most tracks are solidly country, and I would be interested to find out what other sessions these guys worked on...

Barbara Mandrell "He Set My Life To Music" (MCA Records, 1982)
(Produced by Tom Collins)

The Marshall Family "The Legendary Marshall Family, v.1" (Rebel Records, 2002)
Two fine sets of good, old-fashioned bluegrass gospel tunes, with bright, cheerful vocal and instrumental performances and a simple, joyous set of songs. Each of these discs collects tracks drawn from several of the Marshall Family albums of the 1970s, when the group was still a working, touring truegrass band. There are a few guest appearances -- a young Ricky Skaggs joining in some sweet a cappella quartet vocals, for example -- but mostly it's the family itself, presenting this music in as simple and sincere a light as possible. It's great stuff. Later, after the family act disbanded, various members moved into the equally under-the-radar Southern Gospel scene, either as songwriters or as members of up-and-coming bands such as The Isaacs (who praise the Marshalls in the liner notes of Volume 2, and cite them as early influences). Folks of a more secular bent who still appreciate certain strains of bluegrass gospel, the kinds that have a buoyant, optimistic feel, may find these albums quite enjoyable. I liked 'em!

The Marshall Family "The Legendary Marshall Family, v.2" (Rebel Records, 2004)

The Marshall Tucker Band "Gospel" (K-Tel Records, 1999)

Bob Martin "Our Daddy's Plymouth" (Covenant Records, 1978) (LP)
(Produced by Marvin Payne & Guy Randle)
One of those rare Christian music records which successfully hides or subsumes the religious messages in favor of more introspective, personal singer-songwriter material. Composer and singer Bob Martin was originally from Poughkeepsie, New York but was pursuing his graduate degree at BYU (and was presumably a Mormon himself) when he dashed off this set of lovelorn lullabies and goofy folk tunes. Really, only a couple of tracks dip into overt references to Jesus or "The Lord," while the rest of the record pursues secular themes, including several that recount some pretty innocent-sounding college crushes. There are also some charming novelty numbers like the title track, "Our Daddy's Plymouth," a super-goofy, twee tune that shares a certain sense of resolute silliness with The Roches and other likeminded pop-folk goofballs. Co-producer Guy Randle adds a bit of banjo, dobro and mandolin, but this is hardly what you'd call a country-flavored record, more in the tradition of folk-ish 'Seventies soft-pop. I found it kind of charming, though, particularly title track.

Ernest Martin "...And His Gospel Melody Makers" (BACM, 2005)

Ernest C. Martin "Highway To Heaven, Album No. 1" (A Martin Blue Grass Special, 1962-?) (LP)
(Produced by Ernest C. Martin)
Born in Clay City, Kentucky, Ernest C. Martin (1914-2002) started his career as a secular, old-timey singer, including a stint on WNOX, Knoxville, becoming a regional performer, popular in Kentucky, Ohio and Tennessee. But his first fling at show biz rattled him -- Martin drank heavily and fell into hard times and bad health, as he candidly discussed in later years. When he was just twenty-two years old, Martin devoted himself to a lifelong calling as a Baptist evangelical and recorded primarily gospel music for the next several decades. Mr. Martin, along with his sons Ernie Martin and Vernon Martin, recorded a long string of singles and albums, spanning vinyl, 78s, and 8-track tapes, from the late 1940s to the '80s. He also recorded a number of his radio shows, tapes of which were donated to the Berea College archives. This album, Highway To Heaven, was his first LP, recorded with The Norvel Brothers of Dayton Ohio -- Bob and Ray -- playing bass and "straight guitar," fellow Kentuckian Oral C. Robbins on lead guitar, and Mr. Martin playing banjo. This same configuration also released several singles on the Martin label. This appears to be the first album that his oldest son, Ernest Junior, played on, playing lead guitar on a couple of tracks. The songs appeared on earlier singles (with some dating back to the '40s) though it's not clear how many of the album tracks were re-recordings, or reissues of the originals.

Ernest C. Martin "Road Of No Return" (Martin Records, 1966-?) (LP)
(Produced by Ernest C. Martin)

Ernest C. Martin "That Last Inauguration" (Pine Tree Records, 19--?) (LP)
This album features extensive biographical notes by Ozzie Thorpe, detailing Martin's early years as "Kid Martin," playing on radio and doing frantic one-night stands alongside hillbilly stars including Bill and Cliff Carlisle, until he burned out, got religion, and became an ordained minister. In 1948, Martin cut his first gospel disc, the first of three 78rpm singles for the fabled Rich-R-Tone label. A few years later, in 1955, he started his own label and self-released a string of discs. This one features backing by Bob Atkins on drums, Chet Barnett (bass), Ken Bussell (fiddle), J. D. Jarvis (dobro and guitar), Ralph King (banjo), and Ernest Martin on rhythm guitar. Seven of the songs are Ernest Martin originals, including the title track, while others are credited as traditional or public domain.

Ernest C. Martin "What Have You Gained" (Jewel Records, 1973-?) (LP)
(Produced by Rusty York & Reggie Wallace)
In addition to his sons on guitar and bass, this early 'Seventies edition of Martin's band included Dallas Alexander on guitar, Darrel Alexander (drums), and Bruce Andrews (banjo). On the back cover liner notes, Martin discusses his early binge drinking, which he says led to alcohol poisoning on several occasions, as well as to his evangelical calling. Martin had moved to Winchester, Kentucky by the time of this session, and lived there for the rest of his life.

Ernest C. Martin "Too Far Upon My Journey" (Jewel Records, 1973-?) (LP)

Ernest C. Martin "Keep On The Sunny Side" (Jewel Records, 1976) (LP)
(Produced by Rusty York)
According to the liner notes, this was the sixth album of gospel twang by singer and banjoist Ernest C. Martin, at the time living in Burnside, Kentucky. As per usual, he's backed by his sons, Ernie and Vernon. The repertoire is a mix of Carter Family classics, other old-timey tunes, and few Ernest Martin originals... Rusty York wrote the liner notes.

Ernest C. Martin "Great Day In The Morning" (Jewel Records, 1979) (LP)
(Produced by Jimmy Bowen & Don Lanier)

Ernest C. Martin "Hillbilly Gospel From The Bluegrass Hills" (BACM, 2006) (CD-R)
This digital collection gathers a bunch of Martin's earlier recordings, including a slew of tracks with O. C. Robbins and the Norvells. Anyone got a copy?

Jimmy Martin "This World Is Not My Home" (Decca Records, 1963)
Bluegrass gospel simply doesn't get better than this -- this is bandleader Jimmy Martin at the peak of his powers, with a band that included Bill Emerson on banjo and Paul M. Williams on tenor vocals and mandolin. Williams, of course, has gone on to become one of the finest gospel singers in the truegrass scene, and still leads a band of his own. Here, in recordings made between 1958-62, he stepped out of a supporting role in Martin's Sunny Mountain Boys to emerge as a powerful songwriter -- all but four of these songs were co-written by Williams, and he indelibly stamps them all with his fervor and conviction. Martin and all the high-powered pickers on these sessions were no slouches, either, and the musical end of this album is all first rate. This is the kind of gospel music that even secular truegrass fans can get into, since it's performed with such feeling and soulfulness. Recommended! (By the way, anyone know if the Paul Craft listed as playing the banjo on two tracks is the same guy who wrote all those great country songs in the 1970s?)

Jimmy Martin "Singing All Day And Dinner On The Ground" (Decca Records, 1970)
More fine bluegrass gospel from Jimmy Martin and his crew. About half these tracks were recorded in the early 'Sixties with Paul Williams in the band, playing mandolin and penning original spiritual material. The other half of the record is from a 1970 session that featured talented "progressive" bluegrassers such as banjoist Alan Munde and Doyle Lawson on mandolin. Like Williams, Lawson would go on to specialize in gospel material, and it's nice to hear him here, early in his career, taking the tenor vocals in a fine group harmony sound. Recommended!

Jimmy Martin "Will The Circle Be Unbroken" (Hollywood Records, 1995)

Barbara Massey "The Joplins Present Barbara Massey" (Southern Heritage Records, 19--?) (LP)

Dick Massie & The Cajunettes "Sunday Country Grass" (Homa Records, 1975) (LP)
(Produced by Kenny Frazier & Mickey Sherman)
Known on air as "The Ragin' Cajun," Richard Lawrence Massie (1929-2002) was a country deejay on radio station KCCO in Lawton, Oklahoma, where he lived with his wife and kids, including three teenage daughters -- Cindy (age 17), Linda (14) and Sandra (15) -- who sing on this album as The Cajunettes. This gospel set kicks off with a Dick Massie original, "A Boy's Dad," but is mostly cover tunes including songs from the likes of Johnny Bond, The Carter Family, The Louvin Brothers, Loretta Lynn and Bill Monroe... all pretty swell stuff for us twangfans! They are backed by some Lone Star bluegrassers from far-off Decatur, Texas, The Lambert Brothers, and their band the Tri-Country Boys: Gilbert Lambert (rhythm guitar), T. H. Lambert (mandolin), along with Gene Carter (guitar), Joe Hood (banjo), Leonard Simmons (bass), and Marvin Wright on fiddle, as well as harmony vocals from one of Massie's KCCO coworkers, Ed Ferguson. Mr. Massie also released at least one single, sponsored by the radio station, though I'm not sure when that came out.

The Masters Family "Gospel Sing" (Decca Records, 19--?) (LP)

Sammy Masters "May The Good Lord Keep And Bless You" (Galahad Records, 1964) (LP)
(Produced by Jan Kurtis, Sammy Masters & Bob Summers)
A rockabilly rebel from Tulsa, Oklahoma, Samuel T. Lawmaster (aka Sammy Masters, 1930-2013) came out west with his family while he was still a kid, and worked in the post-WWII Southern California country scene before getting called up for the Korean War. Afterwards he headed back to the West Coast and cut a few sizzling singles while also trying to break into the booming country music business, finding some limited success as a composer. Masters worked with car salesman and country music entrepreneur Cal Worthington, producing and emceeing Worthington's popular show, Cal's Corral, and later hosted his own program, the Country Music Time variety show on LA's KCOP-TV station, which was his full-time gig when he cut this album of unusually up-tempo, rock-flavored gospel twang. His backing band included lead guitarist Johnny Davis, Clyde Griffin on piano, rhythm guitarist/producer Bob Morris, drummer Jan Kurtis Skugstad, and bass player Pat O'Neill, who also worked with Billy Lee Riley. The arrangements were a little fat-sounding and slick -- sort of like Ernie Ford's early stuff -- but definitely had more bite than your average southern gospel set. Mr. Masters was the owner of the Galahad label, and also released a string of secular singles, as well as 45s by several other guys in his orbit, including an early one by Wayne Kemp. Anyway, if you're on the hunt for some groovy rockabilly gospel tunes, this disc's a doozy.

Dave Mathes "Sounds Of The Saved Soul" (Temple Records, 1969) (LP)
Originally from Akron, Ohio, "Colonel" Dave Mathes (1933-2008) started his musical career as a member of The Imperials southern gospel group, playing bass and steel guitar for the band, then later established himself as a session player in Tennessee, and later still as a prolific producer-engineer, working both in advertising and music studios. I'm not sure how much work he did as a solo performer, though this late-'Sixties guitar instrumental album was apparently well-received in the gospel community. Oh! And the "colonel" in his name? Mr. Mathes was not, I believe, an actual member of the military, but rather an honorary member of the "Kentucky Colonels," a title bestowed by the state's governor, in recognition of one's philanthropic or charitable work. Now you know.

"Country" Johnny Mathis - see artist discography

Kathy Mattea "Good News" (Mercury Nashville, 1993)

Dan McBride "Tiptoe Through The Tithers" (CHM Records, 1968) (LP)
(Produced by Loeen Bushman, Joe Ann Shelton & Dick McGraw)
The first album from religious folksinger Dan McBride, a Baptist satirist from Fort Worth, Texas who had a Tom Lehrer-like approach. He playfully lampoons the behind-the-scenes nuts-and-bolts issues of church life -- fundraisers, daycare facilities, a few issues of doctrine -- and while some the humor may be lost on outsiders, McBride is a pretty personable and appealing performer. A historical curio, at the very least!

Dan McBride "Dear Computer, We Adore Thee" (CHM Records, 19--?) (LP)

Janet McBride "Gospel Country" (CD Baby, 2009)

Gene McClellan & Janice McLaughlin "Reunion" (Astro Custom Records, 1982-?) (LP)
(Produced by Larry Goss & Jim Tarbutton)
An all-gospel offering from the composer of early-'Seventies megahits "Snowbird" and "Put Your Hand In The Hand," songs that helped catapult Anne Murray to global fame... They may have been try to recreate that magic on a lesser scale with gal singer Janice McLaughlin. She was the daughter of Canadian gospel star Bill LaPointe, and had logged a lot of time as a performer herself -- interestingly, although this disc features an album side's worth of duets, the remainder of the songs are all solo numbers spotlighting Ms. McLaughlin; Gene McClellan doesn't take any solo numbers. Likewise, though he contributes three new songs, this isn't primarily a showcase for his work, instead featuring a couple of Dallas Holm tunes along with several other less well-known contemporary composers. The session was recorded in Nashville with a small studio crew that included drummer Gene Chrisman, Joe Edwards (guitar), Larry Goss (keyboards), Doug Jernigan (steel guitar), and Mike Schrimpf (harmonica). No date on the disc, but it looks like an early 'Eighties offering.

Charlie McCoy "Precious Memories" (RR Records, 1998)

Charlie McCoy "Classic Country Hymns" (Spring Hill Records, 2009)
I'm assuming this is a repackaging of the Precious Memories album listed above... I could be wrong about that, though...

Red McCoy & The Sons Of The Soil "Country And Gospel" (MVM-Mount Vernon Music, 1963-?) (LP)
A budget-line album with a real wallop... This disc's a doozy! "Red McCoy" was the nom-du-cheapo of hillbilly singer Wayne Busbice (Busby), a Louisiana lad who recorded under his own name as well as in a band with his brother, bluegrass mandolinist Buzz Busby. These recordings date back to the late 1950s, when they were originally released as singles on a variety of smaller local labels. As far as musical quality goes, this stuff is the bomb as far as I'm concerned -- rollicking, uptempo, pure hillbilly twang. Busby mined deep into rockabilly riffs that echoed the chunka-chunka style of Johnny Cash as well as more teen-sounding tunes, but there is no mistaking his pure Southern roots. As advertised, the disc is evenly split between secular country and sentimental gospel material, all of it rough-cut but rock-solid and quite satisfying. Highlights here include the heartrendingly earnest religious number, "Be Careful Of Your Father's Name," as well as the super-kooky, super-awesome hillbilly novelty tune, "Rock and Roll Atom," which attempts a musical explication of pre-quantum atomic physics within the confines of a two-minute pop song. Fans of classic Louvin Brothers recordings will find a lot to enjoy here, as well. According to AMG, Busby apparently quit recording -- for the most part -- in the early 1960s, going first into the military and then into public life as an educator. Like his brother, he later tilted towards bluegrass music, though more as a behind-the-scenes kinda guy than as a musician, running the independent Webco label for about a decade during the 1980s. This is the only album under the Red McCoy monicker, though a couple of other LPs recorded as Wayne Busby (and a few random Busby Brothers tracks) await listeners who've had the luck to find this disc first.

Big Jim McDonald "Stand By Me" (Bridge Records, 19--?) (LP)

Ronnie McDowell "Great Gospel Songs" (Curb Records, 1996)

Sharon McDowell "Songs Of Love And Praise" (Benson Sound, 1975) (LP)
(Produced by Larry Benson)
This country-gospel singer from Merced, California headed back East to Oklahoma to record an album at the Benson Sound studios, with Okie artists such as Benny Kubiak on fiddle, label owner Larry Benson playing piano, and Billy Walker on lead guitar and Jerry Hall playing steel. The songs are all originals, almost all of them written by Mrs. McDowell, including some written or co-written with her husband and daughter. The arrangements vary between swooping string arrangements and genuine twang -- the Benson Sound label specialized in independent gospel artists -- and some tracks have a genuinely weird feel to them. This is an anthemic, super-Jesus-y, 700 Club-ish album, though what makes it interesting (and a bit kitschy) is McDowell's thick, ultra-rural voice -- this gal was country, even if her music was more old-school Contemporary Christian. Still, some nice pedal steel and chicken-pickin' on some of the tracks... so maybe it's "country" enough.

Roger McDuff "McDuff Country" (House Of McDuff Productions, 1972-?) (LP)
(Produced by Aaron Brown, James Goss & Pierce LeFevre)
Country-tinged southern gospel from a former member of the Stamps Quartet and part of the McDuff Brothers trio... The youngest of the three brothers, Roger McDuff (1936-2017) was a prolific recording artist, releasing several solo albums on top of the numerous records cut with his siblings; this was one of his more explicitly "country" records, though twangfans might want to take that label with a grain of salt, though some of the source material is pretty modern -- stuff by Dottie Rambo and the like. The album highlight is probably "He's More Than Just A Swear Word," which reminds listeners not to take the Lord's name in vain... Unfortunately the studio musicians aren't identified, though they were most likely house pickers for the LeFevre Sound studios, where this was recorded.

Bill McElroy "I Saw Heaven In A Vision" (Jayln Records, 1973-?) (LP)
(Produced by Phil Mehaffey)
That would be Elder Bill McElroy, of Whiteland, Indiana performing with a rather unusual-sounding guitar/piano mix. He's backed by Don Edwards on guitar, Larry Edwards (bass), Chuck Ivy (piano), and Bill McElroy's son, Larry, on rhythm guitar.

Kate & Anna McGarrigle/Various Artists "The McGarrigle Christmas Hour" (Nonesuch Records, 2005)

Alan McGill "Sings Words And Music By Roy Rogers" (Sacred Records, 19--?) (LP)
A Southern gospel/Christian country set, drawing on the work of cowboy movie icon Roy Rogers... Baritone Alan McGill was originally from Maryland, but worked out west as "an active part of the Hollywood Christian group, among whom are Roy Rogers, Dale Evans, Jimmie Dodd and Redd Harper," in the words of the local Long Beach Press-Telegram. In his late-1950s/1960s heyday McGill released several albums and toured widely. This is probably one of his more "country" records.

Alan McGill "Songs Of The Sawdust Trail" (Sacred Records, 1973-?) (LP)

The McGlothlin Family "Saved And Happy" (Tri-State Records, 1967-?) (LP)
Bedrock rural gospel, the first album by this family band from Tennessee. Founded in 1963, this group consisted of brothers Kit McGlothin and Phil McGlothlin, Phil's wife, Gale McGlothlin, their cousin Bob McGlothlin, and pianist Wayne Bledsoe, all members of the State Line Baptist Church, in Kingsport, Tennessee. They apparently sang primarily in church, often appearing with their pastor, Tony Gonzales, during his sermons on local radio station WGAT, in nearby Gate City, Virginia. This album was dedicated to a local soldier, PFC Gary Rowlett, who had recently been killed in action in Vietnam.

The McGlothlin Family "Reach Out And Touch The Saviour" (Trail Records, 1968-?) (LP)

The McGlothlin Family "Sometimes A Mountain" (Trail Records, 1969-?) (LP)

The McGlothlin Family "King Of The Jews" (NRS/Nashville Recording Service, 1969-?) (LP)

The McGlothlin Quartet "Saved And Happy" (Proclaim Records, 1971-?) (LP)
(Produced by Col. Dave Mathes)
Jaunty, hyper-rural southern gospel by a family band from Kingsport, Tennessee... The explosive male lead vocalist cheerfully barks his way through the tunes, backed by a small chorus dominated by the keening, Kitty Wells-ish tones of Gale McGlothlin who also sings lead on several tunes. Meanwhile the band gallops along with a notably assertive drummer and rollicking piano, and a little bit of Chet Atkins-style chicken pickin'. Though recorded in Music City, there's not even the slightest pretense giving in to the modern Nashville Sound creeps in here -- this is pure, emotive hillbilly gospel, a real anachronistic throwback to the tent revival days. Their earlier albums are listed on the back cover, and are included above, though I think they also recorded many more, well into the 1980s.

Don McHan "The Country, Bluegrass And Gospel Of Don McHan" (Laurel Records, 1970) (LP)
The title of this album says a lot about singer and guitarist Don McHan, whose early days were spent picking bluegrass, notably with the Jim & Jesse band during the early '60s. He wrote and played country music as well, most notably co-composing Loretta Lynn's topical hit "The Pill" (a controversial single which hit the Top 5 in 1975 but was originally recorded in 1972) as well as a string of gospel songs recorded by Jimmie Davis. Like a lot of country artists, McHan felt the pull of religion more strongly in later years and became more exclusively a gospel artist. I'm not sure if this was his first album, but it was one of several released on his own independent Laurel label...

Don McHan "A Message Of Hope" (Songtime/Laurel Records, 1971) (LP)
This would appear to be sort of a song-poem set, with composer McHan giving life to the lyrics of others, in this case a dozen songs written by the Reverend Art Holes, and his wife Agnes. The main composer, Reverend Holes was the pastor of Calvary Chapel in Morrisdale, Pennsylvania, while his wife, Agnes Holes, is credited as composer on just one of the songs. I couldn't find any biographical information about either of them online, though he may have been Arthur R. Holes (1922-1994). It's not clear whether his church was associated with the "Calvary Chapel" movement, a breakaway from from Pentecostalism which became a center of the youth-oriented hippie-era "Jesus people" scene, if so, the dour-looking, super-square, middle-aged man pictured on the back cover of this album would seem to be an unlikely messenger. But you never know. Thematically, these songs don't have a lot of topical range: they are almost uniformly of the I-was-lost-but-now-I'm-found variety, anodyne hymns sung the point of view of someone whose life didn't have form or purpose until they found Jesus, but there's no talk of fire, brimstone, or sin -- or, for that matter, of Heaven or the pearly gates... Rev. Holes's world view seems pretty firmly rooted in the here and now; he's thankful to have a spiritual anchor, but not too outwardly directed or preachy, despite his evangelical calling. The musical end is, frankly, pretty low-wattage, with sparing, minimal arrangements, often little more than acoustic guitar and bass, although a few songs expand the sound a bit. The album grows on you, though -- McHan might not have been giving this his all, but his sincerity is compelling. Also, though a bit repetitive, the songs themselves are nice examples of the non-pushy, positive-thinking brand of contemporary Christian hymn, nice material to be mined by students of the style.

Don McHan "New Songs I Love" (Laurel Records, 1973-?) (LP)

Don McHan "Country Boy Don McHan Sings The Gospel" (Laurel Records, 1973) (LP)
(Produced by Warren C. Evitt)
You'd be forgiven for assuming this was an album of gospel chestnuts, but in fact it's packed with original material by several songwriters in Don McHan's orbit: Mel Anderson, T.D. Bayless, John Bolan, Floyd Douglas, Lucille Gloyne, and Ernie Goff. Also noteworthy is that McHan played all the instrumental parts on these sessions, through the modern magic of multi-tracking... Quite the auteur!

Don McHan "The Wondrous Works Of God" (Songtime Records, 19--?) (LP)

Earl McMilin "Until Then" (19--?)

Earl McMilin "Jesus Use Me" (196-?) (LP)
(Produced by Earl McMilin)
Kind of a folk-ish set by a gospel singer from Hughson, California, a tiny agricultural town right outside of Modesto. Mr. McMilin had pretty corny delivery, and while the musical backing is a bit plain, I suppose this could be considered "country" gospel, in vaguely the same territory as late-vintage Red Foley or Ernie Ford. I do dig that crew cut, though. Mr. McMilin was backed with a modest trio called The Vagabonds, made up of Sam Desmond, Jimmy Luttrell and Roger Shaw (though the album doesn't mention who played which instruments...) This is a bit of a mystery disc, with no trace of it online that I'm able to find, or of the earlier album that's mentioned on the back cover... No release date on this album, either, although he was referred to as a recording artist in a 1964 show listing in Colton, CA, and for later shows in Berkeley, circa 1967. Mr. McMilin seems to have become a pastor at a small church in Alturas, in the northern end of the state.

Earl McMilin "Reach Out And Touch The Lord" (196-?) (LP)
(Produced by Earl McMilin)
On his third album, McMilin adopted a slightly more robust sound, introducing a mildly chunky electric guitar and (of course) one of those churchy-sounding organs. McMilin also throws himself whole-hog into belting out the vocals, giving off a much cornier vibe than on his earlier, folkier albums. It's still not what you'd call a country record, but I have a soft spot for the guy, anyway. The musicians aren't identified, alas, but this album does provide pictures of the previous two LPs, so the picture comes into greater focus. Not sure if he made any other records after this.

The McPeak Brothers "Pathway To Heaven" (Copper Creek Records, 1996)

Gary McSpaden "How Green Is Your Valley?" (19--?) (LP)
(Produced by Meurice LeFevre)
Southern gospel from singer Gary McSpaden, who joined the Statesmen vocal group in the early 1960s, temporarily replacing soloist Jake Hess. Although this was recorded in Atlanta, there are some major Nashville cats playing on the sessions, including Lightnin' Chance, Charlie McCoy, and Pete Wade, as well as the Goss Family...

Linda Meadors "Thou Shalt Be His Witness" (Jewel Records, 1972-?) (LP)
Truly twangy country gospel by a gal from Louisville, Kentucky. Although these songs are mostly gospel standards -- "He Touched Me," "How Great Thou Art," "Where No One Stands Alone" -- Ms. Meadows endows them with real rural grit, sounding kinda like the young Wanda Jackson, with a modest piano-and-pedal steel backing that sets this disc apart from countless blandly arranged southern gospel records. Meadors had an interesting path in her show business career. She was a self-taught pianist who started performing publicly at a very young age. In her teens she started hanging around the Lincoln Jamboree, a regional "opry"-style venue in nearby Hodgenville, KY, and was offered a slot playing piano in the house band. Not long after that she was booked for an appearance on the nationally televised Stoneman Family TV show, and in 1969 she met Jerry Lee Lewis, who helped get her signed to Mercury Records. That major label fling didn't really go anywhere -- two singles came out and several other tracks stayed in the can. After flirting with secular fame, Ms. Meadows turned towards gospel, as heard on this fine album. Although she didn't like being labeled a "blind singer," Meadows graduated from the Kentucky School For The Blind, and read braille; a braille letter that she received from Helen Keller in 1958 is part of the Helen Keller archives. There were, surprisingly, several women named Linda Meadors, living in several different states, so I haven't been able nail down the other details of her biography: it seems mostly likely she was the same Linda Meadors who lived in Bowling Green, in which case she passed away in April, 2020.

Geri Meadows "Neither Silver Nor Gold" (Gospel Heritage Records, 19--?) (LP)
This was the first album by country gospel singer Geri Meadows (1926-2007), of Middleton, Ohio, who performed locally with her husband Johnny and their son Ron, although on this album she was instead backed by the Nashville lineup of The Christian Troubadours, one of the go-to studio bands for independent gospel albums such as this... The set includes a trio of Meadows originals, "Faith In The Savior," "Faithful," "New Life," and "Savior, Redeemer And Friend," along with a bunch of uncredited cover songs, and (hurray) an old Louvin Brothers song, "I See A Bridge." Mrs. Meadows and her husband ran a local automotive business, Johnny's Body Shop, up until 1995, and were also very active in their local church, which they helped found; they also performed on a radio show hosted by pastors Henry Howard and Cliff Hutchinson, and seem to have gotten backing by the congregation to make this record. The tracks tend to be a little bit sluggish, but overall this is a legitimately country-sounding record, moreso than most southern gospel albums.

Geri Meadows "...Sings The First Step And In His Name" (Central Recording Studio, 19--?) (LP)
(Produced by Delbert Barker & Delbert Barker, Jr.)
All-original country gospel from Middletown, Ohio... Although Ms. Meadows only seems to have sung religious material, she was definitely hanging out with some real-deal country folk, notably producer Delbert Barker, who was a veteran hillbilly artist with a career dating back to the 'Fifties, along with fellow old-timer Charlie Gore, and a bunch of other guys whose names pop up on other records from the Ohio/Kentucky axis. The band on this record included drummer Roy Cook, Charlie Gore (fiddle), Ken Hayes (piano and steel guitar), Chubby Howard (steel guitar), Steve Lake (bass), Johnnie Meadows (lead guitar), Ronnie Meadows (guitar), Charlie Rolph (guitar), and Dave Zornes, also playing steel guitar. The songs are all credited to Geri Meadows, who sings with real rural flair, often drifting into some Loretta Lynn-ish vocals, as well as semi-recitations, which again remind us of her hard country roots.

Marty Merchant "Christmas Country Style" (Fresville Records, 1982-?) (LP)
(Produced by Ray Ruff & Randy Nicklaus)
Ho-ho-ho! I'm not exactly sure when this one came out, but since it includes the novelty number, "ET's Helping Santa," I'd say it was sometime after the summer of 1982... An ultra-indie twangster from Fresno, California, Ms. Merchant seems to have gone to LA to record this one, working at the Oak Records studio of producer Ray Ruff. The studio band included Al Bruno on guitar, Jerry Cole playing bass, Brad Felton playing pedal steel, John Mauceri on drums, and perhaps most intriguing, vocals by top forty back-bencher (and Ray Ruff's wife) Stephanie Winslow, whose own career was peaking at the time. Apparently this album also came with a bonus 7" single -- and, yeah, she recycled the same cover photo from her previous LP. Why not?

The Bob Mercer Family "Where No One Stands Alone" (Vision Records, 19--?) (LP)

Ron Mesing "Saturday Night/Sunday Morning" (Country Boy Records, 1975) (LP)
The first of a handful of solo records by Pennsylvania-based dobro player Ron Mesing, a picker from the same generation of "progressive" bluegrassers such as Jerry Douglas who helped expand the range and direction of the instrument. Like Douglas, Mesing introduced jazz themes and new source material into his albums, adding to the country and mountain-music repertoire with which it was historically linked. Mesing never achieved the same level of recognition as some of his peers, though he did record several well-regarded albums. Side Two of this LP was all gospel material.

Buddy Miller "Universal United House Of Prayer" (New West Records, 2004)
It's tough to know just what to make of alt-country veteran Buddy Miller's all-gospel album... I have a lot of respect for Miller as a musician and it's obvious that his heart is really in this dark, complex, challengingly religious record. That being said, it's hard to figure out just who the audience might be: college-age alt-country hipsters are generally a blasphemous lot, and might find all the Jesus talk and soul-searching spirituality a bit off-putting... Old-fogey Southern gospel and country gospel fans will probably find its hard-edged, bluesy musical approach a bit off-putting, as well as its multi-layered view of the Christian faith... For example, alongside the Louvin Brothers' rally-the-troops anthem "There's A Higher Power," Miller also covers Bob Dylan's scathing "With God On Our Side," which is one of the greatest folk scene satires of religious triumphalism and hypocrisy. Most of the other songs are Miller originals, with co-writers that include his wife Julie as well as Jim Lauderdale and Victoria Williams, and while his exploration of his own faith is fascinating, it doesn't lend itself to the embrace of those who look to religion for easy answers. On the musical end, I found it a little too loud and overly muscular, as if Miller & Co were trying to reclaim Christianity for the neo-Southern rock wing of the Americana scene... I personally could do with a few less of the sludgy, soul-tinged electric guitar power chords, but then again, I might not be Buddy's target audience either. Anyway, if you want to check out a country gospel album that has sincerity and substance, with depth and shades of dark and light, this disc really might speak to you.

The Miller Family "Sings That Beautiful Shore" (Gospel Recording Service, 19--?) (LP)
(Produced by Dennis Lamb)
A family band from Kokomo, Indiana... This features nice, Chet Atkins-y guitars and okay female vocals. They're a little flowery and less twangy compared to some other rural country gospel of the same era...

Pam Miller "My Mama's Songs" (Skylite Records, 1976) (LP)
(Produced by Eddie Miller)
The daughter of hillbilly star Eddie Miller, Pamela Miller started out as a child performer, releasing her first LP when she was only thirteen. After her big debut on Tower Records, Miller kicked around Nashville for several years, releasing a handful of singles on various labels, though again, with not much action on the charts. Finally, in 1976, she shifted gears and started recording gospel music, releasing several albums over the course of the next decade or so... This was her first album for the Skylite label, again produced by her dad, though this time repertoire was all songs that were composed by her mother, Barbara Miller.

Ben Mishler "By Faith Now" (Herald Records, 19--?) (LP)
An ultra-DIY private-press album by Arizona's Ben Mishler, a former rodeo rider and amateur boxer who got religion in 1962, cleaned up his life and pursued a career in law enforcement, starting in 1964. He worked as a deputy sheriff in both Mojave and Yavapai counties, and is posed on the cover photo beside his patrol car, with a rather affable smile on his face. He recorded this set of gospel tunes with a scrappy group of unidentified musicians, presumably locals, and they seem to have been genuine country pickers, though only a couple of tunes delve into outright twang. It's a good set, though -- Mr. Mishler's unguarded, unbridled enthusiasm comes through on every track... He's clearly not a professional singer, but he's having fun. No release date, alas, but it looks like a late 'Sixties record. I also wasn't able to find any additional biographical info about Mr. Mishler, though he and his family seems to have stayed in Arizona.

Mississippi Homecoming "Mississippi Homecoming" (Rebel Records, 1981) (LP)
(Produced by Carl Jackson, Gordon Reid & Robert Meadows)
This gospel-oriented album features Carl Jackson on vocals and multiple instruments, along with Marty Stuart playing fiddle and mandolin, Joe Cook picking mandolin, Vicki Cook playing rhythm guitar and Jim Brock Jr., on bass, with everyone chipping in on some sweet vocal harmonies, notably on about half the album sung a cappella.

The Mitchell Brothers "Men Are So Busy" (KLOC Records, 1968) (LP)
A family trio made up of brothers Gary Wayne Mitchell (alto vocals), J. J. Mitchell (tenor) and lead singer Richard Mitchell, who were originally from Carthage, Missouri though Richard Mitchell (1939-2022) had moved to California's Great Central Valley sometime in the 1950s, and was presumably followed by his younger siblings. They recorded this album for a small independent country label run by a country music station in Modesto, near his home in Keyes, CA. There are no producer or musician credits, though this was most likely recorded at the studios of radio station KLOC, which was co-owned by country singer Red Pierce, and may have been engineered by Roger Theisen, who was running the board for other albums made around the same time. Richard Mitchell, the oldest of the three, is pictured on the back cover with a 12-string guitar. though it's not clear if the other brothers played instruments as well. The liner notes from Reverend J. D. Smith says the trio appeared on radio and television, but doesn't specify where; possibly they played on KLOC and its TV affiliates. Richard Mitchell eventually moved to Decatur, Arkansas, where he became a member of the local Assembly of God Church.

Dean Mitchell "Slippin' Away" (Foundation Records, 1982)
(Produced by Jimmy Burch)
A farm kid from Jackson County, Arkansas, by choice Dean Mitchell stuck to the local scene -- according to the liner notes he turned down invitations to tour nationally because he wanted to stay close to his family. So he played county fairs and other regional gigs, and eventually made his way to Nashville to record some albums, starting out with secular material, then getting into a gospel groove on his later albums.

Dean Mitchell "Slippin' Away" (Foundation Records, 1984)
This set mainly includes standards such as "On The Wings Of A Dove," "One Day At A Time," "Slipping Away" and "Uncloudy Day," though there's also the title track, a deliciously super-corny patriotic recitation tune about how the country's going down the tubes... They don't make 'em like that anymore! If fact, they barely still made 'em when Mitchell cut this session...

The Moberlys "Singing With The Spirit" (Promotional Records, 1970-?) (LP)
A thoroughly charming, pleasantly lo-fi country gospel set from the evangelical team of Rev. Tom Moberly and Mary Moberly (who I presume was his wife.) She sings lead, with modest accompaniment and minimal harmony vocals, and has an immensely appealing, plainspoken style -- she's not a dazzling vocalist, but she's very sincere and has a husky, rural tone that reminds me of Melba Montgomery. The Moberlys were from Brinkley, Arkansas -- halfway between Little Rock and Memphis -- though they also gave an address in Oklahoma City, so they may have worked in a regional evangelical circuit. The backing musicians all seem to have been Arkansans, including Wayne Raney's son, Zyndall Raney, on guitar, along with picker Eddie Slusser adding some nice Chet Atkins/Merle Travis-style licks, Tom Moberly on flattop guitar, Bret Moberly (bass), Lloyd Ramsey Jr. (drums) and Rita King adding some delightfully plunky piano riffs (reminding me a bit of Jessi Colter's gospel work...) The underlying vibe is definitely country, though not full-tilt hillbilly... Alas, there are no composer credits, though some of these tunes may have been originals; one album highlight is a tune called "I Won't Ask For More," which features one of Ms. Moberly's most affecting performances. [Note: I wasn't able to find this record online, but there is a handwritten note dating its purchase in October, 1970.]

Sylvia Mobley "Songs For Mama" (Ray's Of Gold, 1984) (LP)
(Produced by Scotty Moore)
Way back in the early 1960s, Southern singer Sylvia Mobley (1941-2017) recorded several catchy, charmingly primitive latter-day rockabilly/country-twang singles, including one that was cut for Starday, and another for bandleader Gene Williams, down in her native state of Arkansas. She worked with Williams and other hard-country bandleaders such as Jimmy Haggett, and released a handful of 45s before cutting her first full album, a secular set that came out around 1975. This follow-up is a nostalgic gospel collection, with backing from several solid, A-list studio musicians, including D. J. Fontana on drums, Hoot Hester (fiddle), Willie Rainsford (piano), Larry Sasser (dobro) and Pete Wade on guitar. Along with a bunch of gospel standards ("Will The Circle Be Unbroken," "Life's Railway To Heaven," "If I Could Hear Mother Pray") are newer tunes and Mobley originals such as "Mama" and "Can't You Remember."

Bill Monroe "I Saw The Light" (Decca Records, 1958) (LP)

Bill Monroe "I'll Meet You In Church Sunday Morning" (Decca Records, 1964) (LP)

Bill Monroe "A Voice From On High" (Decca Records, 1969) (LP)

Bill Monroe "The Road Of Life" (MCA Records, 1974) (LP)

Bill Monroe "Cryin' Holy Unto The Lord" (MCA Records, 1991)
A fine gospel release, with strong ensemble work from Clarence Tate, Tom Ewing and Blake Williams, who formed the core of the Blue Grass Boys at the time, as well as numerous guest stars and contributors, such as Ricky Skaggs, Ralph Stanley, Jim & Jesse and Mac Wiseman. Bill himself seems somewhat subsumed by all the flurry of other musicians, but it's still a fine album, regardless. Recommended!

Monroe Crossing "Then Sings My Soul" (Monroe Crossing Records, 2002)
(Bluegrass gospel - available through the band's website)

Monroe Crossing "The Happy Holidays" (Monroe Crossing Records, 2005)

Monroe Crossing "Into The Fire" (Monroe Crossing Records, 2006)

Melba Montgomery "The Hallelujah Road - Sacred Songs" (Musicor Records, 1966) (LP)
Honkytonk legend Melba Montgomery really does it up right on this one. Her down-home Gomer Pyle delivery really carries this material, and her delivery is so lively that the arrangements (which are all solid) simply fade into the background. Heartfelt, musically sound, and pretty upbeat. It's a real goodie.

Mountain Glory "Happy Is The Man Who Knows The Lord" (Two Dots Records, 1971-?) (LP)
(Produced by Michael Towers)
It took a little digging to figure out where these guys were from... The reissued version of this album makes it seem like they were from Shawnee Mission, Kansas, or maybe somewhere in Iowa, and while that's partially correct, it isn't really the whole story. Mountain Glory was a country/folk/rock gospel group founded on the campus of Pasadena College, in Pasadena, California by lead singers Dave Best and Mike Pitts, along with lead guitar Greg Morse and bassist Dana Walling. They recorded this 1971 album in Ojai, California before moving to Nashua, Iowa (of all places) where they took up a ministry for a year or so and built up an enthusiastic fan base in the heart of the Midwest. Eventually they returned to Southern California although apparently local (Midwestern) demand for their music was strong enough that a Kansas-based label reissued the record with new artwork in 1974. There's lots of original material on here, including "Cowboy For Jesus," written by Mike Pitts and "That Jesus Loves Me Stuff," composed by Walling. They may have done other stuff in the Christian music scene, but as far as I know, this was the band's only album.

Mountain Glory "Happy Is The Man Who Knows The Lord" (Tempo Records, 1974) (LP)
(Produced by Michael Towers)
Same album, different artwork. The Tempo label was from Shawnee Mission, Kansas, but this is a reissue of music recorded in Southern California, before the band came to the Midwest. (See above.)

Linda Mullens "In Touch With God Again" (Gospel Recordings, 19--?) (LP)
(Produced by James A. Simons)
A strictly local gospel singer from Van Buren, Arkansas, recording for an evangelical label in nearby Central City. I'll admit that this one's a little bit iffy, mostly because of Ms. Mullens' vocals, which have an almost-but-not-quite quality to them -- bright, clear and fully committed to the material, but she does wobble off-tune quite a bit. On the other hand, I kind of dig the straightforward country-flavored backing, courtesy of a locals-only band that included steel player Jim Einert, Danny Fisher (drums), Beverley Mitchell (bass), and Nina R. Willhoite on piano. Six of one, half dozen of the other.

Larry Mullins & The Sugarbush Hill Boys "Bringin' It Home" (Larry Mullins Records, 1982) (LP)
Independently released country and country-gospel... Marinette, Wisconsin bandleader Larry Mullins plunked a bit on the banjo, but don't be fooled: this one's solid country, with a little splash of bluegrass on the side. Side One features kind of folkie material -- work songs about lumberjacking and in praise of the Wisconsin forests, as well as some old-school heartsongs such as "When My Blue Moon Turns To Gold Again." Side Two includes a huge medley of classic gospel tunes such as "When The Roll Is Called Up Yonder," "Farther Along" and "Life's Railway To Heaven..." My kinda gospel, to be sure!

The Murphy Brothers & Mary "Cool, Crisp And Country" (Premiere Records, 19--?) (LP)
(Produced by Ron Drake & Kevin McManus)

Clyde Murphy & The Murphy Trio "I Found What I Was Searching For" (Salem Records, 1964) (LP)

Clyde Murphy & The Murphy Trio "Sometimes A Mountain" (Salem Records, 1964) (LP)

Clyde Murphy & The Murphy Trio "I'd Hate To Be The Man" (Salem Recordings, 1966-?) (LP)
(Produced by George Donald McGraw)
The liner notes mention that label owner George Donald McGraw passed away right after producing this album, which may explain their group switching labels on their later releases.

Clyde Murphy & The Murphy Trio "The Land Of Beulah" (MWGS/Midwest Gospel Sound Records, 1971-?) (LP)

Clyde Murphy & The Murphy Trio "Blessed Quietness" (Gospel Recordings, 1973) (LP)
(Produced by Carl J. Burkhardt)
The original trio, with additional lead guitar by Dan Burton, and bass playing by Grady Burton, Jr.

Jimmy Murphy "The Legendary Starday-Rem Sessions" (Ace Records, 1999)
Almost all gospel material.. But considering how great a gospel song "Electricity" is (and that the original version is included here), maybe that ain't such a bad thing. If you like hillbilly gospel music, you're gonna wanna check this out.

Gary Muse "The Kingdom Of God" (Adco Records, 196--?) (LP)
Gary T. Muse was a Cincinnati native who got religion and began evangelizing several years before he cut this disc. He was an awkward singer, but earnest and fully committed, though not, I imagine, a professional singer or public performer. This is one of those odd indie-gospel blends of country and bluegrass with the banjo and guitar mixed up front, but a wild, unrestrained steel guitar accompaniment deep in the background. Along with steel player Bill Brown, he's backed by Don, George and Jim Hardin, who seem to have been a roving house band for Ohio's bluegrass-oriented gospel labels: they also played on a Jewel Records album by Herman Croucher. The repertoire includes covers of the Carter Family, Ralph Stanley, Don McHan and the Speer Family, along with two originals by Gary Muse, "The Kingdom Of God" and "Nobody Ever Stood So Tall." The balance shifts between styles, with some tracks explicitly country, others more grassy, although both styles come through loud and clear.

Hick Music Index