Holiday Music | Other Country Styles

Ed Samons & The Kentucky Mountain Boys "Sacred Sounds Of Bluegrass" (Gloryland Records, 19--?) (LP)
(Produced by Jack Casey & Marvin Jones)
Well, I'm always a sucker for good country gospel, especially all that backwoods stuff from the Ohio/Kentucky axis where all the hillbillies hung out. Plus, I have a weird fascination with the "beach" stock-art album covers, of which this is a fine example. Mandolin picker Edmond Samons recorded several albums of straight-up, premium bluegrass gospel, as well as numerous indie-label singles. He grew up in Wayland, Kentucky, though he'd moved to Ohio by the time his recording career kicked into gear, and ran his own recording studio on the outskirts of Columbus. Mr. Samons worked with the same group of musicians near over the span of a decade or so: fiddler Eldon Allen, Leslie Gillam on banjo, Joe Martin on guitar, and bass player Starr Orr. They had a pleasantly round-toned, melodic sound that integrated several different strands of classic bluegrass -- Samons' own brisk solos echoed Bill Monroe, while the bright, assertive banjo riffs had more of a Flatt & Scruggs feel. Over it all, though, is a sweet, soft feel more reminiscent of the Stanley Brothers. So, if you're a truegrass fan, this should really rock your socks off.

The Sandy Valley Boys & Kathy "Most Requested Hymns, v.1" (Briar International Records, 19--?) (LP)
(Produced by Estel Lee Scarborough)

The Sandy Valley Boys & Kathy "Most Requested Hymns, v.2" (Briar International Records, 19--?) (LP)
(Produced by Estel Lee Scarborough)
A bluegrassy gospel group from Jordonia, Tennessee, with members Don Boone, J. Boyer, Danny Burton, Jay Johnson, G. Larkin, Kathy Wood, and Nelson Young. The liner notes present this as a group started by lead singer Don Boone, though a later, secular incarnation was led by bass player Nelson Young in the late-'70s/early '80s and recorded several albums under his name.

Junior Sasnett & The Tennessee Ramblers "Saviors Hand Holding Mine #2" (Junior Sasnett Records, 1977) (LP)
(Produced by Junior Sasnett)
According to the liner notes, Junior Sasnett was born and raised in Brent, Florida and was living in Las Vegas when he cut this disc. As a teenager he played guitar in a traveling tent revival show, though later when he formed a band with his siblings, he played and wrote secular honky-tonk music. Sasnett made his way out west to LA, where he worked odd jobs and finally moved to Las Vegas where he played a few country bars and self-released at least three albums of very twangy gospel material. (This appears to have been his first record, although the title is confusing: the "number two" is part of one song's name, while a small note in the corner says this is "volume one" of a series. Backing Sasnett is a group including Drake Day on drums, Dusty Henson (bass), Emmett Jones (mandolin), Ned Ketchum (accordion), Ray Kiper (guitar), Loyd Lass (steel guitar) and Buddy Streight on fiddle. These guys were a mix of young'uns and old-timers from all over the country... Several of guys were from California, including the son of fabled Bakersfield TV host Cousin Herb Henson, bassist Keith "Dusty" Henson (1953-2017), who tragically was paralyzed in an accidental shooting in 1982 but previously led a Vegas-based group called the Back Porch County Band.

Junior Sasnett & The Tennessee Ramblers "Good Old Gospel Time, Volume III" (Junior Sasnett Records, 1978) (LP)
(Produced by Junior Sasnett)
Including the title track, about half the songs on here are Sasnett originals, paired up with a bunch more Hank Williams covers and a version of Jimmie Davis's "You Are My Sunshine." Unfortunately the musicians backing him aren't identified, although the liner notes do give us some more biographical detail about Mr. Sasnett's younger days and the two years he spent as part of Rev. Billy McGee's tent revival show, and also informs us that one of the three albums he put out in the late 'Seventies was actually a reissue of earlier material.

Sawyer Brown "Hallelujah He Is Born" (Curb Records, 1997)

Sawyer Brown "True Believer" (Curb Records, 2003)
(Produced by Mark Miller, Ron Chancey, Mac Macnally, Randy Scruggs & Brian Tankersley)
Adrift since the mid-1990s, Sawyer Brown regain their footing on this religiously-themed album. There's more twang in the mix, and more clarity of purpose, This is probably their strongest album since the early '90s; indeed, it may be a more mature and more moving record than most of their frothier early hits. If you were a fan back then, you'll probably want to check this out, too... It's a pretty strong record, all things considered; the single, "Circles," is pretty catchy, although non-evangelical listeners may be a little turned off by the preachy content.

Lee Schmidt "Saturday Night, Sunday Morning" (Alert Records, 19--?) (LP)
(Produced by Merl Olds)
Lee Schmidt (1930-2013) was a farm kid from rural Missouri who made his name in the Saint Louis country nightclub scene, but it was as a square dance caller that he would become known nationally... On his non-squaredance debut he picked some unusual selections (like Harlan Howard's "Too Many Rivers To Cross") and following the Saturday sinner/Sunday saint motif, he sang a bunch of gospel standards, in a Red Foley-esque style. Schmidt only penned one of these songs, "Lonesome Too," but I think there were a couple other songs from local artists. Prior to this, Schmidt was mostly known for doing square dance records; this was his first album of straight-up country songs.

Barry Scott & Second Wind "In God's Time" (Rebel Records, 2009)
This is an absolutely stunning, top-flight set of bedrock bluegrass gospel music - beautiful melody and harmonies, heartfelt performances and uncompromised lyrics about preparing for the Judgment Day. It's the kind of stuff that can send shivers up the spine of even the most agnostic listener. And you certainly don't have to share the band's theology to recognize the beauty of the music -- there's plenty of sweet picking and great vocals, particularly Scott's high, pure lead. This album ranks up there along with the best gospel works of Doyle Lawson, the Stanley Brothers, the Bluegrass Album Band, or Paul Williams. It's first-rate stuff: if you like the style, this record is a must-have.

Helen & Billy Scott "My God And I" (Jewel Records, 1976) (LP)
A thoroughly charming album from a husband-wife duo, neither of whom were particularly strong vocalists, but they really put their hearts into it. Originally from Indiana, the Scotts established themselves as a country duo in Columbus, Ohio, performing on the Jamboree USA radio program and the syndicated Hayride TV show... They recorded plenty of secular material in their career, but cut some gospel sets as well... Not sure who who the producer or backing musicians were, though it's likely that the house band for the Jewel label in Cinncinati.

Big Dave Scroggins "Gospel Country" (Lad Productions, 1974) (LP)

Earl Scruggs "I Saw The Light" (Columbia Records, 1972)

Joyce Seamone "Merry Christmas From Joyce Seamone" (Marathon Records, 1972) (LP)

The Sego Brothers & Naomi "The Sego Brothers & Naomi" (Sing Records, 19--?) (LP)
(Produced by Maurice LeFevre, Bill Hester & Billy Sherrill)
According to the liner notes, this was the third album by this Macon, Georgia family band, and shows the Segos in fine form, harmonizing in a robust but not overly forceful jubilee style, with occasional flourishes of sweet, Chet Atkins-y country guitar. The session was recorded in Nashville with a small that included Lightning Chance on bass, James Kirkland (piano), Wayne Moss (lead guitar), Rex Nelson (rhythm guitar), and Bill Pursell (piano). What can you say? The Segos were a solid, professional group with a pleasant, cheerful, no-nonsense approach; a little goofy at times when they try to project a funky, bluesy vibe, but you can also hear their true country roots, with a deeper twang hinted at in most tunes. Overall even secular skeptics may have to admit they had soul; definitely worth a spin.

The Sego Brothers & Naomi "Hem Of His Garment" (Songs Of Faith Records, 1965-?) (LP)
(Produced by Cecil Scaife & Tom Sparkman)

The Sego Brothers & Naomi "The Sego Brothers & Naomi" (Songs Of Faith Records, 1967-?) (LP)
(Produced by William Beasley)
Another solid set, this time recorded at the Spar Records studio in Nashville, with an ensemble anchored by pianist Bill Pursell, along with Steve Bess (drums), Jack Eubanks (guitar), Mac Gayden (guitar) and Ernie Newton on bass... Unlike many gospel (and country) bands, the Segos actually seem to have loosened up as they went along, rather than sliding into a more conservative style. Several tracks open with fairly experimental, even funky, arrangements, and though the songs quickly tighten up and take on the familiar Sego family form, there's an openness to new sounds that's admirable and surprising. The vocals are fairly uninhibited on this album as well: Naomi lets herself soar on several tunes, and some of the male vocals display a bit of hard country twang, with echoes of honkytonkers like George Jones and Webb Pierce. Maybe too Jesus-y for some twangfans, but you gotta give the Segos their due: they were a solid band.

The Lamar Sego Family "Sing The Gospel" (Supreme Records, 1982) (LP)
(Produced by Allen Handon & Tom Walls)
A founding member of the Sego Brothers, Gaines Lamar Sego (1931-2012) went sorta-solo in the early 1970s, forming a new family band with his wife Betty Ann and their flock of kids, recording a string of albums as The Lamar Sego Family. This was one of their later albums, still adopting solidly contemporary country arrangements, in this case a poppy early '80s feel that (thankfully) falls just short of the synthy sounds that were soon to dominate the Nashville studios. The group is notably smaller here, with just two of the sons and younger daughter Hettie pictured with their parents. She is showcased on several tracks, with her Tanya Tucker-ish vocals providing a contrast to the male vocals, which often recall late-vintage George Jones. I'm not sure which of the sons perform on this album, though many years later it was Lamar's son Dennis who started up a new family band, beginning around 2012, after his father passed away. Alas, there are no musician credits, though the musical backing is pretty solid, and one imagines this Nashville-produced set had a bunch of A-list pros in the lineup.

The Seigler Family "Singing The Gospel Country Style" (Bigg Tyme Records, 1974) (LP)
(Produced by Jerry Sims & The Seigler Family)
A pleasantly raucous, amateurish and definitely quite twangy family band from Ukiah, California, led by parents Floyd Seigler on guitar and Jean Seigler on bass, along with their daughters, Candy Seigler (piano and organ), Sandy Seigler (banjo) and Tana Seigler on guitar. The material is standard, classic country gospel, with a tilt towards older stringband stuff, including chestnuts such as "This Little Light Of Mine" and Albert Brumley's "Turn Your Radio On." Although they lived 'way up in the northern end of the state, the Seiglers headed down to the Central Valley to record at the studio's of Jerry Sims's quixotic indie label, Bigg Tyme Records, in Modesto, CA. Several local Valley musicians who did session work on similar albums pitch in here was well, including Bob Benningfield (bass), Jerry Hoyopatubbi (lead guitar), producer Jerry Sims on drums, and steel player Ivan Ward. The Seiglers later moved up to Alaska, with Floyd and Jean playing in a local church group in the microscopic town of Tok, where they also play in a local bluegrass band.

The Senn Family Singers "He Found Me" (Homecoming Records, 197-?) (LP)

The Senn Family Singers "Singing For Our Lord" (Homecoming Records, 197-?) (LP)
(Produced by Leonard Walls)

The Senn Family Trio "...Sing Songs Of Inspiration" (Senrow Records, 197-?) (LP)
(Produced by Ernie Garrison)
It's hard to imagine what early '70s audiences would have made of this family band from Lakeland, Florida, with their wild, crude, electrified hillbilly-gospel style and unusual approaches to harmony. The group's core vocals were handled by Beverly Senn and Carol Senn (who also played rhythm guitar) aided on various tracks by Ronnie Rowan, bassist Wade Bidiford, drummer Dave Schumate, and lead guitar Lauvghn Brown on lead guitar. I found a couple of newspaper plugs for performances they made at some churches in the Fort Myers area, one in 1969, the other in 1973. I imagine there were many more, unpublicized, shows as well, but again, I wonder what folks thought about their odd, avant-archaic sound? It has pure, backwoods, real-hick roots with traces of Depression-era styles, but also their own unique approach to music, with an almost Zappa-esque feel at times. I dunno, but it sure would be cool to see this one get reissued.

The Senn Family Singers "Come Go With Me" (Homecoming Records, 197-?) (LP)
(Produced by Leonard Walls)

The Senn Family Trio "Our Best To You" (Senrow Records, 197-?) (LP)
(Produced by Leonard Walls)

Al Shade & Jean Romaine "The Little Dogwood Tree" (Aljean Records, 1967) (LP)
The husband-wife duo of Al Shade and Jean Romaine led a regional band called The Short Mountain Boys in central Pennsylvania throughout the 1960s and '70s... Shade's day job was as a country music DJ at radio station WLBR, in Lebanon, PA... while Romaine did a radio show on the weekends. The were pretty traditionally-oriented and rooted in their local community, although they attained some national cult notoriety for their 1979 album which included an old-fashioned disaster-song recitation about the meltdown at the Three Mile Island nuclear power plant in nearby Harrisburg, PA. This was one of their all-gospel albums, though several other records mix both secular and religious material.

Al Shade & Jean Romaine "Jesus Means The World To Me" (Aljean Records, 19--?) (LP)

Al Shade & Jean Romaine "Jesus Cares" (Aljean Records, 2001) (LP)

Shaver "Victory" (New West Records, 1998)
A stark, stripped-down, emotionally direct album, featuring plainspoken vocals from Billy Joe Shaver, and subtle, sympathetic accompaniment from his son, Eddy. The title alludes partly to Billy Joe's mother, Victory Odessa Watson (as she's listed on his birth certificate, which is reproduced in the album art...) and partly to the religious-redemptive theme that runs through the album... Initially I thought, uh-oh -- this is going to be one of those overly literary country-poet albums... But Shaver's soft-spoken, earnest delivery will win you over. This disc seems not only heartfelt and soul-searching, but soulful and artistically rich as well; songcraft was not sacrificed on the altar of introspection... Hardly! If anything, Shaver brings emotional depth to his Christianity that is sorely lacking in most contemporary country gospel... for him this isn't a way to make a living, it's a way to live his life. Definitely worth checking out.

Gary Shaw "Gospel Road Songs" (Great Circle Records, 1980) (LP)
(Produced by Roy Callaway)
Heartfelt, sometimes awkward, truly twangy and entirely original country gospel songs from Nashville-based Gary Shaw. The album is produced in a fairly solid approximation of late '70s/early '80s mainstream country, but the lyrics are mostly about getting back on the right path and leaving behind one's wicked ways. Basically, quit the boozing and running around and take the narrow way back home... Even though the musical style's a little different, the Louvin Brothers would be proud. Shaw's a very enthusiastic and robust singer -- his vocal tone's okay, but where he wobbles a little is on his phrasing... From time to time the meter gets away with him, partly because his songs can get a little wordy and clunky at times... But he can also hit some good, straightforward country grooves, as on the secular-sounding "Lefty Don't Sing The Blues Anymore." It's the more overtly preachy songs that are the real fun, though, like the earnest but campy "Sunday Sleepers," "Bibles From Booze" and "The Same Road As Me," where a little bit of finger-wagging goes a real long way, and kitsch lovers can't help but crack a smile. I think this album works either taken for a laugh or straight-up, as intended -- the musical backing is strong enough for it to work either way. Session players include steel player Sonny Garrish and some rhythm guitar from Brent Rowan of the Rowan Brothers. Definitely worth a spin, if you're not too bugged by the Jesus thing.

Kathy Shaw & The Expressions "Some Of Our Favorite Gospel Songs" (Jamboree USA Records, 1979-?) (LP)
(Produced by Jerry Brightman, Tom Muccio & Jerry Sexton)
A gal from Ohio, Kathy Shaw was originally in a duo with her sister Margaret, winning a statewide competition in 1971 which earned them an invitation to perform at the WWVA Wheeling Jamboree USA show. Margaret Shaw (now Margaret Sexton) also appears on this album, as do their other two sisters, Joyce Ely and Becky Miller, gathering the original family band for an all-gospel set packed with classic tunes by Albert E. Brumley, Mosie Lister, Dottie Rambo and others. Perhaps of greatest interest is the presence of future Top Forty star Lionel Cartwright, a teenager at the time, who sings and plays several different instruments. Also on board are Jamboree regulars steel player Jerry Brightman and guitarist Jerry Sexton, who seems to have married Margaret Shaw. Cartwright's fans in particular might want to keep an eye out for this one.

Ricky Van Shelton "Don't Overlook Salvation" (Columbia Records, 1992)
A country gospel album; ideal for the true believer. And, by the way, his middle name actually is Van, and his last name actually is Shelton.

Jean Shepard "I'll Fly Away" (Capitol Records, 1969) (LP)

The Shilohs "The Mystery Of It All" (John's Recording Studio, 197--?) (LP)

The Shilohs "I Want To Go There" (John's Recording Studio, 1974) (LP)
Rough-hewn, rural southern gospel by a particularly youthful Oklahoma band that may have wanted to sound all slick and 700 Club, but just couldn't help being all twangy. This was recorded at a fabled custom-press studio in Russellville, Arkansas, known for its twangy style. It's not outright hillbilly gospel, exactly, but there's a lead guitarist with a bit of a Chet Atkins sound -- I think it's a fellow named Harmon Hiser which sure sounds like a made-up name(!) though he had an address in Stilger, Oklahoma where you could order their records, and played on both of the Shilohs albums I know about. (Hiser is listed as playing steel guitar, but I didn't hear any steel riffs on the entire album, just an electric with a lot of reverb...) Hiser's riffs are often reverb-ed in a little hot, edging out the vocals but quite to the point where you can't hear the lyrics; same goes for the plunky piano. This lineup of the band mostly appear to be teenagers, all of them congregants at the Porum (Oklahoma) Assembly Of God Church -- Pentecostalists -- and their pastor, Rev. M. K. McEihannon, wrote the brisk-sounding sleeve notes. This was a large ensemble, and while I'm sure there were core members, the full list is as follows: Floyd Adams (lead vocals), James Amos (bass vocals), Andrew Frye (piano), Harmon Hiser (steel guitar), Judy Holt (alto vocals), Wayne Kendrick (drums), Linda Miller (organ), David Newton (bass), Mike Smoth (drums) and Sheila Sorrels (soprano vocals), with Sheila's sister Barbara Greene (the former Barbara Sorrels) now singing tenor. It should be noted that the vocals are often a bit iffy, though the guys, Floyd Adams and James Amos have pretty robust delivery; you could definitely seem either of them singing in a professional southern gospel band.

Jerry Short & The Countrymen "The Reason To Live" (Sunshine Records, 1971) (LP)
(Produced by Larry Benson)
For many years singer and bandleader Jerry Short was based in Modesto, California, where he played bass in a band called The Countrymen, which also included Densel Alvey, Alvis Barnett, and Bill Carter -- all integral members of the West Coast country gospel scene. Sometime apparently in the early 'Seventies Mr. Short pulled up stakes and moved back east to Oklahoma, and transformed the Countrymen into a family, featuring his wife Doris on piano, and sons David and Stephen playing drums... This seems to have been the first album by the revamped Countrymen, recorded in conjunction with the sprawling evangelical empire of tent revivalist Bud Chambers, who contributes the liner notes. Most of the songs are Jerry Short's originals, although he does cover one by Bud Chambers, as well as a Merle Haggard song ("Jesus, Take Hold") and -- rather interestingly -- one called "I Just Cannot Tell It Like It Is," by Wanda Brassfield, the youngest member of the Brassfield Trio, out of Arkansas. Jerry Short plays bass, with wife Doris on piano, along with Denny Callahan on lead guitar (double-necked!), Oklahoma session pro Jerry Hall (pedal steel), and rhythm guitar by Dean Lemons. I'm not sure if the Short family were part of the Bud Chambers ministry, if so, I haven't found any information about it, although the Sunshine label was owned by Mr. Chambers.

Jerry Short & The Countrymen "I'm No Stranger To Heartaches" (Short Records, 1973-?) (LP)
(Produced by Larry Benson)
A couple of years later, Jerry Short recorded with the professional studio crew at Benson Sound, a gospel-oriented studio that produced countless private-press Christian records. The lineup included Jerry Short (bass and vocals), his wife Doris Short playing piano, and a studio band that included Larry Benson on piano, Doug Campbell (steel guitar), Jimmy Jay (lead guitar), and Benny Kubiak (fiddle), all top players on the Oklahoma City country scene.

Jerry Short & The Countrymen "The Reason To Live" (CAM Records, 1974-?) (LP)
(Produced by Dale McCoy & Carl Warren)
This lineup includes Jerry and Doris Short, their son Steve Short on drums, and additional studio help from steel player Jerry Hall, Jim Lacefield on bass, and Ray Owens playing rhythm guitar.

Garland Shuping & The Cross Crowd "Take My Hand Precious Lord" (Old Homestead Records, 1979) (LP)
A banjo player with strong country influences, Garland Shuping was once a sideman for Jim & Jesse and an erstwhile member of the Kentucky-based band Bluegrass Alliance, and went on to record several bluegrass- and country-oriented solo LPs on Old Homestead and other labels.

The Simple Truth "Ain't Jesus Good" (Creative Sound Records, 1973) (LP)
(Produced by Chet Barnett)
Good old "Jesus freak" country-rock gospel, from a group out of Kansas City, Missouri. Actually, these guys were all over the map, musically speaking, playing some for-real twang, notably on their cover of Chuck Girard's "Front Seat, Back Seat," along with a few tunes that get into a LA-style garage-pysch vibe. There's also a preponderance of geefier folk-ministry mooing and crooning, alas. Even though I'm not big on the whole making-fun-of-other-eras thing, I do have to admit that the opening tracks on Side One are pure kitsch gold, particularly "Time To Get It Together," a desperate-to-sound-hip, groovy youth anthem, swiftly followed by the less-amazing, but still goofy "Jesus Is For You," one of several originals on this album, in this case written by lead guitarist Paul Land. They pay homage to fellow now-generation evangelicals such as Girard and Ray Hildebrand... Indeed, if you dig folks like Brush Arbor and all those Marantha-label bands, you might enjoy this as well.

Martin Simpson "A Closer Walk With Thee" (Gourd Records, 1994)
English folk guitarist Martin Simpson with a quiet, contemplative set of instrumental, acoustic reinterpretations of classic American gospel themes such as "I'll Fly Away," "Palms Of Victory," "Wayfaring Stranger," "What A Friend We Have In Jesus," and many other, much more obscure tunes. Some of these tracks are gorgeous, some are a bit goopy, and some go way out in left field... in a very nice way. Simpson really makes this material his own, and slows the pace way down, with the express purpose of getting us out of the hustle and bustle of everyday life. This didn't really move me as much as I thought it might, but it's still quite nice.

The Sims Family "...Presents Country Gospel" (Spirit Arrow Productions, 19--?) (LP)
A Christian set from this old-timey family band from Philomath, Oregon. The group featured Leroy Sims on fiddle, Shirley Sims on banjo and guitar, Steve Sims on guitar, along with Charley Francis on bass and J. R. Clark on banjo and guitar. Notably, Leroy Sims' grandfather, who came out west in the 1880s, and became a popular local fiddler in remote, rural Conconully, Washington, so they for sure had some real roots.

The Sims Family "...Presents Singing Souls" (Spirit Arrow Productions, 19--?) (LP)

Terry Sims "We'll Talk It Over" (KSS Records, 1980-?) (LP)
Country gospel by a fella from Ozarks who recorded at at the Kennett Sound Studios, in Kennett, Missouri, a regional indie label located inside that odd little divot of southeastern Missouri that dips down in between Arkansas and Tennessee, just north of Memphis. Terry Sims was originally from nearby Hayti, Arkansas, and was living in Thayer, Missouri and sang at the Christian Tabernacle in Hardy, AR, on the other side of the state line. This album includes contemporary gospel songs by Joan Ewing, Laverne Tripp, Ira Stamphill, along with a couple from Johnny Cook, and one ("That's The Man I'm Looking For") written by Don Lee, who I believe was the hotshot country-rock guitarist and producer from Los Angeles who also had roots in the Midwest. The backing band included Dennis Autry on piano, Lee Barnes (bass), Gary Blanchard (lead guitar and steel), Clyde Brown (rhythm guitar), and drummer Jamie Holmes, who were guys connected to the KSS outfit.

The Singing Journeymen "The Sounds Of The Singing Journeymen" (LP)

The Singing Rories "With You In Mind" (19--?) (LP)
Country gospel by a family band from Osceloa, Indiana, led by parents Dolton Rorie and his wife Frances Rorie (1937-2011). Their son Steve eventually became the driving force of the band, a multi-instrumentalist he later married songwriter and vocalist Debra Grace Rorie, another anchor of the band. The Rories recorded an undetermined number of albums, with a strong country flavor.

The Singing Rories "We Like It Gospel" (Rite Records, 1976-?) (LP)
(Produced by Phil Burkhardt, Dan Burton & Wilbur Pennington)
This edition of the Rories included Dolton and Frances, their son Steve and his wife, singer Debra Grace Rorie, who wrote several songs for their albums. On this album they are also joined by steel guitarist Chuck Rich and drummer Tim Short. Their repertoire shows strong country influences, with material from the Hemphills, the Hinsons, Wayne Walters and the Rambos... my kinda gospel!

The Singing Rories "I'll Sing As I'm Carried Away" (Rite Records, 19--?) (LP)
This album also features several songs penned by Debra Grace Rorie, including the title track, "I'll Sing As I'm Carried Away," and several more by Ronnie Hinson.

The Singing Rories "Camp Meeting Days" (Rite Records, 1975-?) (LP)

The Singing Rories "It Just Comes Natural" (Imperial Sacred Records, 19--?) (LP)
(Produced by Dave Lewis, Graham McQueen & Steve Rorie)

The Singing Seale Family "Country Gospel" (Vision Records, 19--?) (LP)
(Produced by Leon Harris)

The Singing Straub Family "...With The Nashville Sound" (Heritage Records, 19--?) (LP)
Twangy gospel from a family band led by Randy Straub along with his wife and three kids, who harmonize in a peppy vocal style that would be familiar to fans of the Statler Brothers or the Oak Ridge Boys. The Straubs were from Kansas City, Kansas, and apparently played gigs at local churches -- the liner notes are by a pastor from nearby Lawrence, Kansas. They made the trek to Nashville to record this one, although sadly they don't mention which studio they booked. Lead guitarist Art Pemberton gets into some nice, clean Merle Travis/early Atkins-style pickin' while the liner notes credit The Christian Troubadours as background vocalists... I'm assuming this is the same group led by Wayne Walters and Leroy Blankenship that moved from California to Nashville. (Note: this album seems to have two titles; it's called At An Old Fashioned Meeting on the inner label.)

The Singing Todds "Let Me Live" (AHMC/American Heritage Music Corporation, 1975-?) (LP)
(Produced by Vern Garrison & Milt Harris)
West Coast country gospel by a family (apparently) from Pacheco, California... This was recorded at the fabled Trac Studios in Fresno, with the Todds joined by Paul Murrell (lead guitar), Lonnie Dawson (rhythm guitar) and Rick Fields (bass) -- producers Vern Garrison and Milt Harris were from Fresno and San Pablo, respectively. This is a really nice, sweet little record, with distinctive, folk-flavored, easygoing arrangements ornamented by noodly but not overwhelming guitar riffs and some pleasantly rural vocals, kind of like if Porter Wagoner had teamed up with the Carter Family. The album highlight is Lonnie Dawson's original composition, "Precious Jesus," though really the whole album is quite enjoyable. This is the kind of amateurism I love -- it feels very personal and sincere, and has a not-too-slick sound that's a welcome change of pace from all the southern gospel harmony vocals and bluegrass pickers who pursue the same musical ideals, over and over again. This album feels fresh and pleasantly informal... Might not appeal to everyone, but I thought it was a keeper.

Charlie Sizemore "Singing With The Angels" (Old Homestead Records, 1989)
An all-gospel offering featuring bluegrass bandleader/vocalist Charlie Sizemore...

Ricky Skaggs & Kentucky Thunder "Soldier Of The Cross" (Skaggs Family Records, 1999)
A born-again, all-gospel album that is often a bit on the overwritten and sluggish side. New songs such as "Joshua Generation" and "Seven Hillside" are full-scale disasters of overly-flowery poeticism, with a somewhat show-offy Skaggs trying to stand above the common Southern Gospel crowd. Still, his more straightforward versions of older, more traditional tunes sound alright... all except for an otherwise sterling cover of the Louvin Brothers' "Are You Afraid To Die," which regrettably has a passage from a Billy Graham sermon tacked on at the start. Still... when else will you get the chance to come across an album dedicated to 16th Century Crusaders such as a the Knights of Malta? I think Ricky may have gotten a little carried away on the scripture-packed liner notes, but I suppose that's his prerogative. This is a fine album for the territory; the first release, I believe, on Skaggs's own independent label.

Ricky Skaggs & Kentucky Thunder "Soldier Of The Cross - The Concert" (DVD) (Skaggs Family Records, 2003)
It's possible that at this point in his life, bandleader Ricky Skaggs has done more to promote old-fashioned bluegrass gospel than practically anyone else alive, other than his old mentor, Dr. Ralph Stanley. This concert DVD captures Skaggs and his band, Kentucky Thunder, in fine form, performing top-flight versions of many standards of the genre and several new tunes that he has contributed in recent years. The "high lonesome" vocal harmony tunes are the sublime, although the picking is pretty darn hot, as well. In addition to his various hotshot bandmembers -- multi-instrumentalists Jim Roll, Andy Leftwich, et al. -- Skaggs also plays host to several soulful guest performers, including his wife, Sharon White and her family, The Whites, who can throw on a mean harmony or two themselves, if they put their minds to it. The songs are interspersed with commentary by Ricky, about his faith, family and friends. In general, this material shouldn't too noxious to secular-minded bluegrass fans, since the performances themselves are both skillfully filmed and spine-tingling-ly resonant. If you are of a resolutely agnostic or atheistic bent, though, then best to leave this one be... Ricky's born again envangelicism will probably get on your nerves. Anyone who likes Ricky on either his religious or musical merits, though, will love this: it's quite a nice concert!

Ricky Skaggs "Mosaic" (Skaggs Family Records, 2010)

Carl Smith "Sunday Down South" (Columbia Records, 1957)

Connie Smith "Great Sacred Songs" (RCA, 1966)
(Produced by Bob Ferguson)
A pretty decent Nashville gospel album. Things only bog down when the session players try to get all artsy (with classical guitar licks, etc.) but even then it only slows things down a little. Not as all-out fun as her earlier pop stuff, but pretty solid.

Connie Smith & Nat Stuckey "Sunday Morning With..." (RCA) (LP)
A gospel duets album that also includes popular tunes such as "Daddy Sang Bass" The original LP is a highly sought-after collector's item, but if you just wanna check out the music, it has (hoorah!) been reissued on CD under the title God Will on an indie label run by Stuckey's family. (See CD reviews above for more info...)

Connie Smith "Come Walk Along With Me" (RCA, 1971) (LP)
A hopelessly overwrought, countrypolitan gospel album. Even with usually-reliable producer Bob Ferguson in tow, this record came out sounding way too lethargic... I think this may have been one of those religious records that nobody but Connie wanted to make; she's the only one who sounds like they were that into it.

Connie Smith "God Is Abundant" (Columbia Records, 1973) (LP)
Uh, would it come as a surprise if I told you this was a gospel album? What is surprising is how thoroughly Columbia cast Connie as a Loretta Lynn-style yelper. Most of the songs on here are either too drippy or bombastic, but there are a couple of exceptions. "You Can Move That Mountain" has a nice chicken-pickin' bounciness to it, and "The Baptism Of Jesse Taylor" is a pretty good novelty song (about a hell-raiser who gets religion, abandons the bars and leaves all them loose wimmin high and dry...) There's also an okay duet with Larry Gatlin ("Help Me") where she's able to draw you in a bit, at least more than the rest of the ho-hum tent-revival cheerleading on the rest of this album.

Connie Smith "Connie Smith Sings Hank Williams Gospel" (Columbia Records, 1975) (LP)
All gospel material... To be honest, this one is pretty lackluster and indifferently produced, though she does hit the mark on a few songs. But really, there's better Hank, there's better Connie, and there's better gospel.

Connie Smith "Joy To The World" (Columbia Records, 1975) (LP)
This Christmas album includes a mix of traditional carols such as "The First Noel" and "O Come All Ye Faithful," along with non-holiday specific spiritual numbers such as "Go Tell It On The Mountain."

Connie Smith "Clinging To A Saving Hand" (RCA, 1995)

Connie Smith & Nat Stuckey "God Will" (Music Row Talent, 2001)
A highly welcome CD reissue of her classic gospel duets recorded with Nat Stuckey in the late 1960s. This disc combines all the material from the much sought-after Sunday Morning album, and some tracks off of the earlier Young Love LP. Country gospel fans in particular will be ecstatic that Stuckey's family was able to convince RCA to let them reissue this album, so that fans no longer have to contend with extravagant collector prices to hear this fine Nashville-politan gospel material!

Duane Smith "The Country Side Of Heaven" (Crusade Records, 1981-?) (LP)
(Produced by Bill Casiolari)
A country-oriented set by Kansas City, Missouri gospel singer Duane Smith, who traveled to Crusade Records in Flora, Illinois, where he was backed by studio musicians Art Baker, Bill Casiolari, Fred Mooney and Tommy Shelton. Mr. Smith had previously released at least four other albums, though I'm not sure if any of those were as twangy as this one...

Gene Smith & Darrell Smith "It's A Miracle To Be An American" (REM Records, 19--?) (LP)
A father-son duo from Chicago, Illinois, the Smiths started performing gospel together in 1964 after Gene Smith "changed his way of life," which I take to mean he settled down and got religion. Before that he'd been playing informally for his pals in the Army while stationed overseas, presumably singing secular country and bluegrass-style music. The Smiths were clearly devotees of "brother act" artists such as Jim & Jesse and the Louvins and emulated their acoustic guitar-and-mandolin based arrangements. What they lacked in musical finesse, the Smiths made up for in enthusiasm -- this is a pretty clumsy set, but it oozes sincerity and authenticity. Side One of the album is all original material written by Gene Smith, including novelty numbers such as "It's A Miracle To Be An American," "The Greatest Of Great Retirement Plans" and Second Honeymoon In Heaven, while Side Two revisits country gospel standards such as "Wait A Little Longer" and "Drunkard's Plea." They recorded this at the REM label, down in Lexington, Kentucky bringing with them their bass player, Reverend Richard Thornberry, of Berwyn, Illinois (a Chicago suburb) and his ten-year old daughter Jeanette, who sings harmony on a couple of tracks. The rest of the band seems to have been ringers provided by the label, banjo picker Wallace Duty and guitarist Kenneth Webb, both of Columbus, Ohio. Unfortunately, this group didn't really congeal very well, though it's hard to tell if this was because of the overall talent level, or just because the various players didn't mesh well. Gene Smith was a decent mandolin player and gets in some sweet licks; he also recorded a string of singles on REM, though they may have come after this album. A few tracks are emotionally resonant, particularly "It's Me Again, Lord," and a cover of the Louvin Brothers' "Weapon Of Prayer," and it's always nice to hear original material from the fellas that penned it. Worth a spin if you're into that whole Columbus-Cincinnati hillbilly gospel scene, though maybe a hard sell for more casual listeners.

Harmie Smith "Songs From The Heart And Soul" (Custom Records, 196-?) (LP)
(Produced by Kirk Curtis)
Old-school country and gospel from Tyler, Texas. The liner notes are from Hal Evans, GM of country radio station KCIJ, Shreveport, Louisiana, who says Smith was originally from Shreveport, and had a show on KWKH in the late '40s through early 1955, and apparently had one of his songs, "I'm Too Lonely To Smile," recorded by Kitty Wells. He moved to Texas in '55, and left his music career behind. He moved back to Shreveport around 1967, and Mr. Evans offered him a job as a deejay, then helped get this album made. The first side is secular, the second side is gospel, with most of the songs credited to either Mr. Smith, or his wife Billie, while four of the gospel songs were written by Bill Permenter, who also used Tyler Publishing Co., along with the Smiths.

Homer Smith & The Hymn Time Singers "That Same Road" (Basic Records, 1976-?) (LP)
Bluegrass gospel from Sellersburg, Indiana, with a sound very reminiscent of the early Louvin Brothers...

Kenny & Amanda Smith "Tell Someone" (Rebel Records, 2006)
A fine all-gospel bluegrass set with sweet vocals and soulful but understated picking; the singing takes the front seat here, and all voices are raised in praise. A couple of tunes are too intense for me, but mostly this is the kind of sweet bluegrass gospel that I really like. Nice song selection, and plenty of heartfelt emotion to back it up. If you like the genre, you'll love this album.

Kit Smith "From A Prison To The Free World" (Turquoise Records, 1982-?) (LP)
(Produced by Bill Woods)
Straight outta Bakersfield, T. D. "Kit" Smith was an ex-convict and a big fan of Merle Haggard... Born in Alabama, raised in Texas, and incarcerated for a crime not specified in his album's liner notes, Smith settled down in California where he drove trucks and became an iron worker. He wrote most of the songs on here -- there's an old Bob Wills song, "Convict And The Rose," that kicks things off -- and they tell a story of jailhouse conversion ("I Saw The Master's Face") and reentry into civilian life, on "From A Prison To The Free World." He also pays homage to John Wayne on "The Duke Is Gone," which he wrote the day that Wayne died.

Carol & Jimmy Snow "Visions Of Glory" (Heart Warming Records, 1962)
A country-gospel power couple of sorts... This was one of several albums recorded by Jimmy Snow, the son of country star Hank Snow and his wife, Carol Lee Cooper, the daughter of hillbilly old-timers Wilma Lee and Stoney Cooper... As "Carol Lee," she led her own group of studio vocalists, the Carol Lee Singers, which did a lot of studio work in Nashville, much like groups such as the Anita Kerr Singers or the Jordanaires.

Carol & Jimmy Snow "Sweethearts Of Sacred Song" (Heart Warming Records, 1964)

Carol & Jimmy Snow "Carry On Family Traditions" (Heart Warming Records, 1966)

Hank Snow "Sings Sacred Songs" (RCA, 1958) (LP)

Hank Snow "Gloryland March" (RCA, 1965) (LP)

Hank Snow "Gospel Train" (RCA, 1966) (LP)
(Produced by Chet Atkins)
Snow was starting to sort of phone in his secular albums by now, but on this gospel offering he seems to have had his heart in the material a bit more... His guitar is buried back in the mix a bit, in favor of a vocal-dominated approach, and the results are quite nice. Back him on harmony are the Imperials gospel quartet, who are deeply anchored in the old-school version of the Southern Gospel tradition, and who add a buoyant, cheerful air to the proceedings. This album is also notable for the number of original songs that are new to the gospel canon, including highlights such as "My Religion's Not Old-Fashioned (But It's Real Genuine)", "How Big Is God?" and "Shop Worn," as well as a hefty dose of old standards like "Dear Lord, Remember Me" and "This Train." Nice album -- worth checking out!

Hank Snow & Jimmy Snow "Live From Evangel Temple" (RCA, 1976) (LP)

Solid Foundation "Learning To Lean" (Ripcord Records, 1979-?) (LP)
A gospel album by a trio from Grant's Pass, Oregon, with backing by the Ripcord Studios crew... Worth keeping on our radar just for the Ripcord connection alone!

The Soul Harvesters "...Sing At The Old Country Church" (GRC Recording Company, 1975) (LP)
(Produced by Charles Jackson)
A family band from somewhere around Florence, Alabama, who recorded this album at the GRG custom label in nearby Athens, AL. The group was anchored by Lloyd Mitchell and his daughters Pam and Shelby, and sons Danny and Dewayne, along with lead vocalist Wayne Jeffreys, lead guitar and steel player Darry Jackson and drummer Terry Schrimsher. In all honesty, they were a wildly uneven ensemble, notably Wayne Jeffreys who had a pretty goofy-sounding voice, though it's balanced by the clear, rural intonations of the gals, and the confident picking of Darry Jackson, who did similar session work on an undetermined number of custom-label gospel records, though apparently didn't make any records of his own. As far as I know, this was the group's only album -- admittedly flawed, marginal perhaps, yet deeply rural and appealingly twangy.

Southern Rail "Glory Train" (Pinecastle Records, 1995)
A bluegrass gospel set...

Red Sovine "Sunday With Sovine" (Starday Records, 1968) (LP)

Red Sovine "Sixteen New Gospel Songs" (Gusto Records, 1978) (LP)

Red Sovine "Cryin' In The Chapel" (Hollywood Records, 1989)

Red Sovine "16 Super Gospel Hits" (King Records, 2000)
These later Sovine sessions show him mining Tennessee Ernie Ford territory -- poppish country gospel with a painfully earnest "oooh-waaah" chorus singing behind him. Actually, these recordings aren't so bad, although hearing Sovine in a context where he's called upon to really sing, you kinda get why he was best when he was doing recitations. Still, the songs that were more simplistically written ("Church Around The Corner," for example...) suit him well. As with many of these latter-day King releases, the liner notes are pretty vague, and it's hard to say exactly when these recordings were made... I'd guess the mid-1970s, or so.

Red Sovine "20 All-Time Greatest Gospel Hits" (TeeVee Records, 2003)

The Speer Family "Big Singing Day" (Heartwarming Records, 19--?) (LP)
(Produced by Bob MacKenzie & Chuck Seitz)
Super-corny, super-square, old-school southern gospel with goofy, barbershop-ish jubilee vocals and very little soul. While out there crate-digging, I thought my spidey senses had been telling me the Speers were one of those unexpectedly good, country-oriented southern gospel groups, but if so, my spidey senses were horribly, horribly wrong. The only track with a moderately engaging arrangement is one called "I Don't Want To Walk In The Darkness," which sounds a lot like late-vintage Tennessee Ernie Ford, when he was working in what he probably considered a "hip" swinging mode. The following track, a Speer original called "Going Home," has a twangy feel but works its way up into a hysteric, proclamatory fervor -- the unidentified Nashville guitar picker manages to slip a few hot licks in, but nothing that could really redeem this disc. Or, presumably, any of the other Speer Family albums. Honestly, this is just awful.

The Speers "Something Good Is About To Happen" (Heartwarming Records, 1975) (LP)
(Produced by Lee Hazen, Bob MacKenzie & Stephen Speer)
A late edition of the Speers family band, with a few corduroy-clad young'uns joining the remaining old-timers. I really try to be open-minded, but the truth is this album is pretty corny; very much what you'd expect from a legacy southern gospel group in the mid-1970s. The vocals are overly sincere, but hopelessly drippy, while the musical backing (by a bunch of Nashville pros) is smooth and slick, but lacks any real vim or vigor. Very 700 Club, and not much fun. Some of it is really quite awful, though a couple of their originals, "Hold To God's Unchanging Hand" and "Wouldn't This Be A Good Time To Pray" are decently twangy country gospel... Unfortunately both songs are sandwiched between stuffy, old-school barbershoppy vocals and horrible, Carpenters-esque pop-orchestral numbers. The seven pictured vocalists are not identified by name, although the studio musicians are, and include a bunch of the Music City elite: in addition to Bill Pursell on piano, the ensemble included guitarist Jimmy Colvard, Joe Edwards (fiddle), Buddy Harmon (drums), Weldon Myrick (pedal steel), Ron Oates (keyboards), Dale Sellers (guitar), Bobby Thompson (guitar), Pete Wade (guitar) and Jack Williams on bass. This one can be skipped.

The Spiritual Echoes "Sing The Glory Down" (Market Records, 197--?) (LP)
Fairly generic southern gospel harmony vocals, solidly in the Oak Ridge Boys/Statler Brothers mode. The group included Bill Cross, Bob Easters, Mike Hall, Jo Thompson and George Watson, though the liner notes neglect to tell us who sang which parts, or played which instruments; also, no indication about where they were from, or when this album was recorded. There are a few legitimately country touches, including a bit of steel guitar on a tune or two, though most of the songs feature pretty basic white gospel arrangements. I actually find these guys charming, but for a reason many southern gospel fans might not appreciate: a couple of them fall out of tune, fairly consistently, though overall it's a credible performance... I enjoy imperfections and signs of amateurism, but obviously others prize musical perfection, particularly in harmony vocal groups. So, there's that. I was mostly drawn to this album because it had one of the stock-photo "beach covers" provided by some unknown custom recording company back in the 'Seventies... Ultimately, though, this one isn't really a keeper.

The Spiritual Sound "The Sound Of His Name" (Beatty Records, 197--?) (LP)
(Produced by Gene Lawson)
Well, it was worth a shot. I mean, yes, it's a mid-1970s southern gospel album, but the picture on the back cover shows a bunch of young, semi-shaggy dudes looking all Creedence Clearwater, in their jeans, sneakers and matching Pendletons, which seems promising, even though the front cover shows them in super-cheesy, almost-matching JC Penney's grey suits (extra creativity points to the kid who showed up to the photo shoot with a black buttonup, rather than maroon...) Anyway, one version of the group looked all young and earthy and maybe-kinda a little hip, and their song selection included newer stuff by Andrae Crouch, Ronnie Hinson's "The Lighthouse," and even (gasp!) "Teach Your Children," by those drug-addled hippies in Crosby, Stills & Nash... Plus, the musicians included Doyle Grisham on dobro and steel, all of which sounds great... except for the fact that their vocals are kind of goofy-sounding and a little on the weak side. Not terrible, but not appealing enough to hold my attention. Hailing from Hardinsburg, Kentucky, the group included the vocal quartet of Kent Humphrey (baritone), Leland Humprey (tenor vocals and piano), David Tabor (bass) and lead vocalist George Tabor, along with Daniel Hoskins on bass guitar, with label owners Kerry Beatty on drums and Warren Beatty playing electric keyboards.

Stan Standiford "He Was There All The Time" (Benson Sound, 19--?) (LP)

Stan Standiford "His Hand In Mine: My Tribute To The Christian Cowboys" (Benson Sound, 1981-?) (LP)

The Stanley Brothers -- see artist discography

Ralph Stanley -- see artist discography

Frank Starr "You Can't Disguise Religion" (Starr Records, 1972--?) (LP)
Not to be mixed up with 'Fifties hillbilly honkytonker Frankie Starr, Franklin Delano Gulledge (1932-2003) was a kid from rural Arkansas who formed a country band with his brothers after serving in the Korean War, but soon gravitated towards the exciting new rockabilly sound. MGM signed him up to be their answer to Elvis Presley, renamed him "Andy Starr," and released a string of singles that are valued by collectors, but sold poorly at the time. He moved around a lot, including a long-term gig as a radio deejay in Idaho, and a five-year stint up in Alaska, and later attempted to break into the rock scene in Los Angeles. In the early 'Seventies he legally changed his name to Frank Starr, and careened from one project to another -- he tried his hand leading an evangelical ministry, made a few stabs at breaking into politics, and took music gigs where he could find them. Kicking off his short-lived career as an evangelical preacher, Frank Starr cut this set with a longhaired "Jesus freak" band called the Wilson-McKinley Jesus Rock Band, who are credited as pioneers of Christian rock, though they played some pretty decent country riffs here. The group included Jimmy Bartlett (bass), Mike Messer (guitar), Tom Slipp (drums) and Randy Wilcox on piano; they are joined by Spokane, Washington steel player Neil Livingston, who adds a solid country sound. (Even though they spelled his name "Niel" on the album art... ooops!) A few tracks, like the cacophonous "Jesus," blast straight into hippie acid rock territory, and give a sense of what it was like to be a first-generation rock'n'roller trying to adapt to the post-Woodstock sensibilities. Nutty stuff!

The Statler Brothers "Oh Happy Day" (Columbia Records, 1969) (LP)

The Statler Brothers "Holy Bible - Old Testament" (Mercury Records, 1975)

The Statler Brothers "Holy Bible - New Testament" (Mercury Records, 1975)

The Statler Brothers "Radio Gospel Songs" (Mercury Records, 1986)

The Statler Brothers "Today's Gospel Favorites" (Mercury Records, 1993)

Steel City Quartet "Gospel Trucker" (TEA/Tribunes Evangelistic Association, 1984) (LP)
(Produced by John T. Struthers & Ron King)
This Pittsburg-area gospel group centered around the vocal group of Chuck Johnson (lead), Ron Cornell (bass), Marty Kaczynski (baritone) and John Lawrenz (tenor), with instrumental backing on piano, guitar and bass. I'm not sure just how twangy they actually were, other than the title track, but they definitely had a badass semi for the cover photos!

Steve & Leroy "Life's Railway To Heaven" (Crown Sound Records, 1971-?) (LP)
(Produced by Jack Scott)
The first album by the Southern California bluegrass gospel duo of singer/guitarist Steve Hatfield and dobro whiz Leroy McNees (aka Leroy Mack) who met in 1965 and played together as a duo for the rest of the decade before cutting this disc in Southern California. McNees was the best-known of the two, having been in the legendary progressive bluegrass band The Kentucky Colonels, along with brothers Clarence and Roland White. In 1961 the Colonels (then still known as the Country Boys) appeared on a couple of episodes of the Andy Griffith Show and soon became regional stars on the SoCal folk and country scene. Steve Hatfield was not a music professional, though during his college days he was in a Christian folk group called the Overland Three, and after he and Leroy Mack were introduced to one another by a local pastor, they began writing original gospel material together. They are joined on various tracks by two different bass players -- Roger Bush (another former Kentucky Colonel) and Rudy Q. Jones, who recorded with Bush and Mack on his own album a couple of years earlier. In the early 'Seventies this duo evolved into The Born Again Bluegrass Band, which Leroy Mack led for over three decades. This is an album filled with original material co-written by the two longtime collaborators.

Ray Stevens "Turn Your Radio On" (Barnaby Records, 1972)

Ray Stevens "The Gospel Side Of Ray Stevens" (Arrival Records, 1992)

Tiny Stokes "These Hands: Tiny Stokes Sings Hymns" (19--?) (LP)
This gospel set may have been the only solo album from Dwight "Tiny" Stokes (1920-1999) who was best known as the bass player and lead tenor of the comedic country group, Captain Stubby & The Buccaneers. The Chicago-based group was together for several decades, most notably starring on the WLS National Barn Dance program, as well as local and nationally syndicated programs on the ABC network. Stokes was born in Springfield, Missouri but like many entertainers in the radio era he moved around a lot, living in Monticello, Indiana and Helena, Montana among other places, before retiring down in Florida. It was up in Montana in the early 'Sixties while working as a radio deejay that Tiny Stokes met a factory worker and aspiring country singer named Charley Pride, whose career he championed, introducing the future chart-topper to Red Foley, who helped then Pride break into the Nashville scene. Though not known as a solo artist, Stokes recorded prolifically with the Buccaneers, both on Decca singles and countless airshots; he was also known for the hillbilly hit, "Blackfoot Boogie," a Montana-themed novelty number he recorded in 1956 with a group called the Frontiersmen. (The song name-checks every country bar in the state, one by one, city by city, and is about as specific a shout-out song as you'll ever hear...) Unfortunately this album doesn't tell us who was backing Stokes or when it was recorded, though the graphics had an early 'Seventies feel. Any additional info is welcome!

Jim Stone "Sings Gospel" (Gospel Heritage Records, 19--?) (LP)
(Produced by Wayne Walters & Gene Lawson)
Singer Jim Stone hailed from rural Empire, California -- a tiny Central Valley town just east of Modesto. This country gospel album came out on a Nashville indie label, with session player Benny Kennerson on piano, Bill Johnson on steel guitar, and Don Morris playing drums. Jim Stone plays rhythm guitar, as does the producer, gospel songwriter Wayne Walters, whose son, Noel Walters plays bass -- Walters also sang with a California-based group called The Christian Troubadours, which had a pretty rootsy, country-oriented sound.

Ernest Stoneman "Gospel Music Treasures" (King Records, 2003)

The Stonemans "The Family Bible" (Rutabaga Records, 1988) (LP)

The Stonemans "For God And Country" (Old Homestead Records, 1991) (LP)

Carl Story -- see artist profile

Guy Stringfield & Agnes Hicks "...Sing Old Gospel Songs" (Cumberland Records, 197--?) (LP)
Delightfully amateurish, undeniably rural gospel duets by a father-daughter team from Lancing, Tennessee... Both Mr. Stringfield (1909-1984) and his daughter Agnes were active in the Pilot Mountain Missionary Baptist Church, and the liner notes tell us he sang on the radio for over twenty years, although they don't mention what station(s) he performed on. Mr. Stringfield may have been a more robust vocalist in his youth, but he certainly sounds old-mannish here -- not that that's a bad thing, at all. Their style seems tightly tied to the old Appalachian "shape note" singing, though perhaps a generation or two down the line, more in a 1920's Alfred G. Karnes mode, perhaps. The repertoire is heavy on Stamps-Baxter material, and well-known chestnuts such as "Amazing Grace," "Angel Band," "No Tears In Heaven" and "If I Could Hear Mother Pray," as well as a few slightly more obscure tunes. The album starts off resolutely acoustic, but soon goes electric, with a hotly mixed guitar which makes up in enthusiasm what it lacks in finesse... Underpinning it all is Ms. Hicks' radiantly clear affection for her father, and her determination to bring this project to fruition -- her harmonizations are delicate and sincere, as well as earthy and authentically backwoods, real mountain music, for sure. She performs solo on one song, a version of "Everybody Wants To Go To Heaven, But Nobody Wants To Die," freeing up an earthy vocal power only hinted at on the other tracks... One wonders if she recorded anything else. I am also charmed by the album's technical flaws, such as a track or two where the original reel-to-reel recordings whirr up to speed, or were possibly poorly engineered to begin with. It might have been embarrassing at the time, but as far as I'm concerned, it adds to the charm. Mr. Stringfield might not have had the technical polish as other hillbilly gospel singers in the region, but he certainly shared the same spirit.

Martha Stroven "The Longer I Serve Him, The Sweeter He Grows" (Lincoln Jamboree Records, 1981) (LP)
(Produced by Wayne Sexton)
A teenage gospel singer who was apparently in the early 'Eighties cast of the Lincoln Jamboree in Hodgenville, Kentucky. Singing material from Marijohn Wilkins, Bill Gaither, Ira Stanphill and others, Ms. Stroven was backed by musicians Ronnie Benningfield (piano), Charles Durham (drums), Lanny Harden (bass), Carlton Noel (steel guitar), all members of the venue's house band, The Jamboree Gang.

Nat Stuckey & Connie Smith "Sunday Morning" (RCA Victor, 1970)
Reviewed above.

The Sunshine Sisters "There's Another Side" (Manna Music, 19--?) (LP)
(Produced by Rue Barclay & Hal Spencer)
A trio of gals from Valdosta, Georgia, the Sunshine Sisters -- Judith Ann, Linda Joyce and Sharon Rose, surname unknown -- were the daughters of a southern preacher who enlisted his girls into his ministry 'way back in the early 1950s, when he hosted a radio show on WPNX, in Columbus, GA, when they were just five, six, and nine years old. This album is charming mostly for its simplicity and sincerity, with modestly countrified arrangements courtesy of Rue Barclay and whoever he rounded up for these sessions in his Hollywood studio. The gals are perhaps not the greatest singers, though they might win you over. There's a little bit of proto-Judds-y whitegirl showboating, but mostly these are pretty understated performances, with a melodic bluntness, but also a humility and lack of pretentiousness that might be appealing. I probably won't keep this one, but I respect where they were coming from.

Ben Swett "I Sing For I Cannot Be Silent" (Bibletone Records, 1960-?) (LP)
(Produced by Fred Adam)
A reformed alcoholic who turned to religion and was ordained in 1958, Ben Swett became a traveling minister and evangelist, as well as a Southern gospel performer. This album seems to have been recorded at the start of his two-year assignment to Jamaica, though judging from the musician credits, it was probably recorded in the States before he left. Not sure how "country" it is -- the instruments include piano, organ, vibraharp and bass, as well as some pedal steel, played by Ruth Osterhus.

Ben Swett "Riding The Range For Jesus" (KNOF Sacred Recordings, 1962-?) (LP)

Hick Music Index