Holiday Music | Other Country Styles

The Waddington Family "The Future's Not What It Used To Be" (Ripcord Records, 197--?) (LP)
(Produced by Blaine Allen, Gene Breeden & Tim Waddington)
This family band from Aderdeen, Idaho formed their own ministry and went to the Ripcord studios in Vancouver Washington to record a couple of albums. This album features backing by Ripcord's Blaine Allen and Gene Breeden, along with the rest of their studio crew -- they provide solid country backing, albeit with a smooth, southern gospel-ish tone. Tim Waddington is the group's main vocalist, and he has sort of a corny, 700 Club-style white gospel baritone... a little too schmaltzy for me, dreary, even. I mean, how can you make "Life Is Like A Mountain Railroad" into a slow, boring song? A disappointing album, and definitely not enough twang... But it's nice to fill in another blank spot in the Ripcord story.

The Waddington Family "...With Country Gospel" (Family Records, 1978) (LP)

June Wade - see artist discography

The Waggoners "The Waggoners" (Lemco Records, 1973-?) (LP)
(Produced by Cecil Jones)
Originally from Bloomington, Indiana, guitarist Charlie Waggoner started out in country music in 1952, playing on radio and backing various stars... By 1969, he'd started his own band along with his wife, singer-guitarist Roxanne Waggoner, working at Holiday Inns and clubs, as well as opening for bigger artists. They were hosting their own TV show out of Knoxville at the time this LP came out; backing them are bassist Tony Wayne and drummer Larry Clifton. The Waggoners moved around a lot -- during the "Urban Cowboy" years they were working a steady gig in Daytona Beach, Florida, though they eventually moved back to Indiana. Years later, in the 1990s, the Waggoners co-founded a sing-out religious service they called the Country-Gospel Music Church, which was held at various venues in Nashville, often with older stars of the Opry dropping in to sing a hymn or two. Towards the decade's end, they relocated the "Church" to a venue near Gnaw Bone, Indiana, where they continued the tradition.

Porter Wagoner & The Blackwood Brothers "Grand Old Gospel" (RCA Victor, 1965)
Although the CD artwork isn't as classy as the original LP, the music is the same -- great stuff from a true believer! Porter Wagoner often sprinkled spiritual songs through his regular records, but his all-gospel albums are their own special thing... This is Wagoner's first album cut with the venerable Blackwood Brothers vocal group, and definitely worth checking out!

Porter Wagoner With The Blackwood Brothers "More Grand Old Gospel" (RCA Victor, 1967)
Nice... if ya go for the whole Jesus thing. Sometimes Porter's hillbilly charm gets lost amid the solid, barbershop style of these pioneering Southern Gospel idols, but he generally manages to make his presence known -- a corny recitation here, a tasty pedal steel there -- and the Blackwoods do grow on you after a while. Of course, we'll just have to leave aside the fact that there are five of them pictured on the cover alongside Porter, and the group is supposed to be a quartet... Other than that, this is a mighty fine country gospel album.

Porter Wagoner With The Blackwood Brothers "In Gospel Country" (RCA Victor, 1969)

Porter Wagoner "When I Sing For Him" (Murray Hill Records, 1982) (LP)

Billy Walker "How Big Is God?" (Monument Records, 1969) (LP)

Billy Walker "Soap And Water" (Tall Texan Records, 1980) (LP)

Billy Walker "How Great Thou Art" (Tall Texan Records, 1981)

Billy Walker "Precious Memories" (Tall Texan Records, 1987)

Billy Walker "Let My Faith Begin To Move" (Tall Texan Records, 1992)

Billy Walker "Larger Than Life" (Tall Texan Records, 1995)

Billy Walker "Back On The Mountain Again" (Tall Texan Records, 1999)

Billy Walker "15 Gospel Super Hits" (Gusto Records, 1992)
A selection of tracks from his Tall Texan recordings...

Charlie Walker "He Is My Everything" (Epic Records, 1969) (LP)

Clay Walker "A Few Questions" (RCA-Nashville, 2003)
(Produced by James Ritchey & Clay Walker)
I wasn't wild about the musical end of this album -- Walker and his production are both a bit thin -- but the lyrical content is quite striking. Although Walker only wrote a couple of the songs, this album has a very personal feel, and a sense of cohesion and depth that is all too rare in contemporary pop and country. It opens with the title track, which is one of those lofty efforts that I call "issue songs," a sub-genre I don't generally care much for, as it seems opportunistic and contrived. However, on this track (which was also the album's lead single), Walker may surprise a few folks with his sincere questioning of our world's injustice and imbalances, not merely deploring when "bad things happening to good people," but also questioning the privilege and affluence he enjoys as a modern American. Even more surprising is that the album actually continues along in the same vein, for song after song. Walker returns to the issue of American materialism and spiritual drift on songs such as "Everybody Needs Love," the potentially controversial "Jesus Was A Country Boy" (where he sings, "I bet he never had a million dollars/or wore a lot of fancy clothes...") and, most effectively, on "This Is What Matters," where Walker encourages the world to turn off the cell phones and fax lines, and kick back with nature, family and friends for awhile. The album is dedicated, not surprisingly, to "the Good Lord," but Walker eschews the self-serving "told you so" smugness that many self-styled Christians drape themselves in, and actually seems to be searching for both answers and for a personal philosophy that will allow him to live life as a good, whole human being, one who is engaged with other people and with the world around him... He's not parading his religion, he's actually exploring his spiritual values, and it's an interesting effort, made all the more thought provoking for the highly commercial context. This isn't the greatest Nashville-style country I've ever heard, but it is a substantive, earnest album, notable amid an ocean of crass, cynical, individualistic self-involvement. Good for Clay!

The Walkers (Emerson & Clarine) "Under New Management" (Pathway Records, 196--?) (LP)

The Walkers (Emerson & Clarine) "Walking The Glory Road" (Pathway Records, 1966-?) (LP)

The Walkers (Emerson & Clarine) "Someone Will Love Me In Heaven" (Pathway Records, 1967-?) (LP)
This was the third album by the husband-wife gospel duo of Clarine and Emerson Walker, a middle-aged couple from Flint, Michigan who sang in a rugged, plangent style that recalled their roots in Missouri and Kentucky, respectively. With straightforward, minimalist backing by a musical quartet called the Crossmen -- Red Ellis (mandolin), Roy Maples (rhythm guitar), Blaine Rhodes (lead guitar) and Evert Sanders (bass) -- the Walkers were working in the same tradition as The Louvin Brothers, complete with some sweet, Chet Atkins-y electric guitar licks. Their flat, nasal intonations weren't as supple as the Louvins, but that's part of the charm -- these aren't breathtaking performances, but they radiate sincerity and rural authenticity. It may seem a little low-energy, but I dig it.

The Walkers (Emerson & Clarine) "Keep Walking" (Pathway Records, 1968-?) (LP)
Though this seems to have been the last album by the Walkers, the Crossmen band went on to record at least a half-dozen albums over the next few years, all on the Pathway label.

The Waters Family "The Glory Special" (Mastertone Records, 1972) (LP)
(Produced by Dave Reddick)
Not to be confused with the Waters Family gospel group from Oklahoma (below) this family band from Eden, North Carolina included seven members: the parents plus five siblings -- three teenage girls and two younger boys who may have been twins -- with none, unfortunately, named in the liner notes. Not too surprisingly, they had a bright, youthful sound, not overly vigorous, but with sympathetic backing by a studio band at Mark Five Studios, which included John Brookshire on bass, Tommy Dodd (steel guitar), David Ezell (lead guitar), Harold Huffman (bass), Otis Forrest (piano) and Buster Phillips on drums. Overall their backing is pretty restrained and seems to be held back a little to match the controlled, precise vocals, though they do indulge in a few little flights, notably the surprisingly funky arrangement on the opening number, "The Glory Special." Not electrifying, but charming, and with reasonably twangy country backing.

The Waters Family "Covered By The Blood" (Cam Enterprises, 197--?) (LP)
A very-private (and fairly negligible) family-band gospel set recorded by the Waters Family of Ardmore, Oklahoma. The dad, Don Waters, was an Ardmore police officer who took up an evangelical mission starting in 1972. This album was recorded at the Cam Enterprises studios in Oklahoma -- there are some country touches on here, aided by steel guitarist Jerry Hall, though the prominence given to their daughter Donnell makes this album fairly rough going -- she looks to have been about ten or eleven when this album was released and very much has a "little girl" voice, cutesy but a little painful to listen to.

Doc Watson "On Praying Ground" (Sugar Hill Records, 1990)

Gene Watson "Jesus Is All I Need" (Step One Records, 1997)

Gene Watson "The Gospel Side Of Gene Watson" (Compendia Records, 2004)

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

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

The Waylighters "Come To See Me (Over There In My New Home)" (Crusade Records, 196--?) (LP)
(Produced by Ray Harris)
This is a different group from the Detroit hillbillies above... These Waylighters hailed from Chicago, though other than that I don't have much information.

The Weatherford Quartet "The Cross Made The Difference" (Benson Sound Records, 19--?) (LP)
(Produced by Larry Benson & David Caster)

Dennis Weaver "Dennis Weaver" (Custom Fidelity/Im'Press Records, 1972) (LP)
(Produced by Jerry Dumas & Joe Johnson)
Born in Joplin, Missouri, actor Dennis Weaver (1924-2006) was best known for his role as sidekick Chester Goode on Gunsmoke, and as a laconic western detective on the '70s show McCloud. In the early 1970s, Weaver branched out into music, starting his own label and recording several albums, often with country and gospel themes. This LP is heavy on religious and inspirational material, as well as recitations, which were kind of Weaver's "thing." His wife, Gerry Weaver, performs on a few tracks as well, although I'm not sure what other musicians were on here. Weaver is credited with composing several tracks, including "Where Have The Wild Blackberries Gone" and "Work Through My Hands, Lord." Also of note are several songs by country-rock Larry Murray, who was previously in the psychedelic country band Hearts And Flowers.

Randy Weiss "Never Seen A U-Haul On A Hearse" (Crosstalkin' Records, 1988) (LP)
(Produced by Bill Anderson Jr. & P. C. Salter)

The Wells Family "Wells Of Living Water" (Manna Recording, 2000)
(Produced by Gary Booher & Joseph Booher)
As far as I can tell, this bluegrass gospel group from Clayton, North Carolina is not related to the Wells Of Living Water family band (below) although they both latched on to the same Biblical phrase for their work. This group included Debi Wells (banjo and guitar), Eden Wells (fiddle), Gary Wells (banjo, bass, and mandolin), Jade Wells (mandolin and piano) and Sara Wells on bass, along with producers Gary and Jospeh Booher chiming in on various instruments

Wells Of Living Water "There's Gonna Be A Singing" (Jewel Records, 1983-?) (LP)
A bluegrassy family gospel band, from Otisville, Michigan, a tiny hamlet just northeast of Flint. The group was led by evangelist Herman Estes Wells and his wife Jo Reece Wells (1938-2022) who sang in a harmony group along with two of their kids, Kent and Lisa, as well as the group's bass player, Jan Gregory, who I don't think was a relative. In addition to Mr. Wells on guitar, the singers were backed on this album by instrumentalists Curly Ballard (mandolin), Jan Gregory (bass), Ray Gregory (rhythm guitar), Buddy Griffin (banjo and mandolin), Kenny Holycross (steel guitar), Bruce Kidwell (drums), and Dumpy Rice on piano. No composer credits, alas, so I don't know if any of these songs were originals, or all cover songs. The "Wells Of Living Water" was also the name of their ministry; in addition, the Wellses were charter members of a local congregation, the Otisville Assembly Of God.

Wells Of Living Water "I'm A Winner!" (Jewel Records, 19--?) (LP)

Kitty Wells "Dust On The Bible" (Decca Records, 1959) (LP)

Kitty Wells "Singing On Sunday" (Decca Records, 1962)

Kitty Wells "Gospel Sing" (Decca Records, 1965) (LP)

Kitty Wells & Johnnie Wright "Heartwarming Gospel Songs" (Decca Records, 1972) (LP)

Kitty Wells "Dust On The Bible" (King Records, 2009)

Jim Wesson & The Goss Brothers "If God Ruled Your Heart" (Sword & Shield Records, 1965-?) (LP)
(Produced by James Goss & Meurice LeFevre)
Texas gospel singer Jim Wesson was a member of The Chuck Wagon Gang from 1963-67, and recorded this solo album while he was in the group; his bandmate Ray Carter contributes the glowing liner notes. This album was recorded in Atlanta, Georgia, with backing from the Goss Brothers band -- James Goss (drums), Lari Goss (piano), Roni Goss (bass), and Joe Huffman on lead guitar, with the Gosses also providing backing vocals. During his tenure with the Chuck Wagon Gang, Wesson performed on at least four of their albums -- That Old Time Religion (1964), The Sunshine Special (1965), Joy Bells Ringing In My Soul (1965), and Lord Lead Me On (1966), then left the lineup and moved to the less well-known Prophets, appearing on their album, Love Like The Sun, though appears to have left the group soon after that. Many years later, in the early 2000s, Wesson rejoined the Chuck Wagon Gang, though I'm not sure how long that lasted.

Jim Wesson "Calm Assurance" (Rainbow Records, 19--?) (LP)

Jim Wesson "Jesus Is Everybody’s Everything" (Rainbow Records, 1979) (LP)

Jim Wesson & Bob Cline "Gospel Classics Of The Decade" (Rainbow Records, 1981) (LP)

Jim Wesson "Country Gospel" (Rainbow Records, 1981) (LP)

Dottie West "Sacred Ballads" (RCA Victor, 1967) (LP)

The Western Crusaders "...Sing The Gospel" (Circle C Recording Studio, 19--?) (LP)
(Produced by Wayne Chalk, Willard Lawson & Wally Wilder)
Authentic country gospel by a mixed male-female, young'uns/old-timers band from Stockton California. The country vibe comes through mostly in the vocals, and in the underlying feel of the recording... There is some guitar and bass in the mix, but the predominant instrument is a slow, churchy organ, played by Barbara Chalk, who also sings alto. It's similar to Tim Spencer's stuff from the 'Fifties -- you know he's from a country background, but he's given up that fiddle and guitar for Jesus. Anyway, even though there's not a lot of overt twang, it's still a nice record. The group appears to have been led by Stan Dennis, who I assume is the old guy doing the recitation on the patriotic-evangelical "What This Country Needs Today" (a song he wrote, as well as "For All You Have Done For Me Today." The Chalk family also contributes an original number, called Tears On The Altar," though most of the songs are covers. There are several covers of Bill Gaither material, including "Thanks To Calvary," which closes the album, and "The Mystery Of His Way," written by Bob Nolan of the Sons Of The Pioneers. Although the membership may have shifted over the years, the Western Crusaders were together in the 1960s '70s and '80s, and toured extensively throughout California. As far as I can tell, neither the Crusaders nor the Circle C studio had any connection to the Christian Troubadours, but Stockton wasn't that big a town, so I'm sure they bumped into one another from time to time.

The Western Gospel Messengers "Western Gospel Messengers" (19--?) (LP)
(Produced by Jack Miller, Buck Coghlan & The Western Gentlemen)
A country gospel group from Corvallis, Montana featuring Chuck Burrus, Jeanne Burrus and their thirteen-year-old daughter Sandy, along with songwriter Bill Ralston (1935-2020) on rhythm guitar and his sixteen-year-old son Steve Ralston playing lead, as well as championship fiddler Jimmy Widner. Not exactly sure when this one came out, but it looks like a 1970's outing. Bill Ralston's obituary notes that he also recorded a few CDs under his own name, though I haven't been able to track down any of their titles...

Lillimae Whitaker & The Dixie Gospel-Aires "Hymn Time" (GSP/Rome Records, 19--?) (LP)
(Produced by Marvin Jones)

Lillimae Whitaker & The Dixie Gospelaires "Jesus Has Called Me" (Rural Rhythm Records, 19--?) (LP)

Lillimae Whitaker & The Dixie Gospelaires "There's A Big Wheel" (Rome Recordings/Gloryland Records, 1974-?) (LP)
(Produced by Jack Casey)
Straightforward bluegrass gospel, with several originals as well as covers of old standards, and a couple of contemporary tunes by John Duffy and J. D. Crowe. Lillimae Hardy Whitaker is joined by her husband, mandolin picker Charlie Whitaker, along with a pretty straightforward assortment of traditional instruments -- bass, banjo, fiddle and dobro. This was recorded at the Rome Studios, in Columbus, Ohio; Mrs. Whitaker (1939-2014) lived in Kenton, Ohio, a little to the north. The Whitakers founded the Dixie Gospelaires in 1959, along with banjo player Noah Hollon, who helped anchor the band for several decades. Charlier Whitaker took a hiatus in the early '80s to tour with Bill Monroe(!) and the Gospelaires disbanded for about a decade, reforming in 1995, with Whitaker's youngest son Jeff joining as the band's lead guitarist.

Bill White "Reaching Out" (Angelus Records, 19--?) (LP)
(Produced by Wesley Tuttle, Sr.)
Dunno much about this evangelical gospel singer, although my attention was drawn to country-rocker Red Rhodes playing pedal steel on the album, along with Wesley Tuttle Jr. playing piano, Jay Lacy on guitar and Don Whaley on bass. Lacy and Whaley seem to have done a lot of session work together: Whaley was in the '70s rock band Honk, and also played with Ray Sanders, Ian Matthews, Rusty Weir, Rodney Crowell, and others. Jay Lacy joined him in Matthews and Weir's band; he also played with Hoyt Axton, Michael Nesmith, and appeared on Red Rhodes' landmark album, "Velvet Hammer," as well as Garland Frady's "Pure Country" LP. No indication of where Mr. White was from, or where he pastored, but he sure had a high-powered crew backing him for this album.

Buck White & The Whites - see artist discography

Jack White & The Carter Sisters "Southern Songbook" (Silverwolf Records, 2002)
Not to be confused with the guy from the rock band White Stripes, this Jack White is a fella of modest voice who has an obvious love of traditional country, and an appreciation for country gospel. This album was apparently the last project that the Carter Sisters worked on... Their role is pretty marginal, if the truth be told; other than one solo vocal towards the end, this is mostly just some chorus harmonies, and little else. White sort of reminds me of Hank Snow a bit, but only just a little; overall this is a pretty lackluster, low-budget indie release.

Robert White & The Candy Mountain Boys "Thousand Tons Of Coal" (Ranger R Records, 1969) (LP)
(Produced by Forrest Green)
A prolific recording artist with singles bating back to the late 1950s, Michigan's Robert LaVaughn White (1925-2002) cut his first full LP in the late '60s, working with local producer Forrest Green. A festival favorite during the 'Sixties and 'Seventies, White had a particularly strong following in the Great Lakes area and upper Midwest. Not all gospel, but the gospel stuff is good.

Robert White & The Candy Mountain Boys "Poverty/A Eye For A Eye" (Ranger R Records, 1970-?) (LP)
(Produced by Forrest Green)
This disc comes from the early 'Seventies, an era when it was in vogue to give country albums two titles -- usually of two songs they hoped would be hits. (I also love that the article "an" isn't used before "eye"... now THAT'S country...!) Recorded at the Forrest Green Studios in Clio, Michigan, though it was mastered and pressed by the Rimrock label, in Concord, Arkansas. As with his previous album, this is a lively mix of bluegrass, country, secular and gospel material, with a lot of original material.

Robert White & The Candy Mountain Boys "In The Savior's Hands" (Ranger R Records, 197--?) (LP)
(Produced by Forrest Green)
This was an all-gospel album, with a wealth of original material, as well as some off-the-beaten path material by evangelical country songwriters such as Bud Chambers. Along with heartfelt standards such as "Working On A Building" and "Heavenly Light Shining On Me," Mr. White had an ear for novelty material such as "Out Lord's Space Ship" and "God's Tax Free Plan." Alas no info on who the boys in the band were, though they included guys on banjo, mandolin and guitar. White continues recording and performing for several decades, releasing numerous singles and LPs for Atteiram, Old Homestead and other labels.

The White Sisters "Stepping On The Clouds" (Ripcord/Charter Records, 197--?) (LP)
(Produced by Ellis Miller)
The White Sisters -- Barbara, Janice and Jayne -- were a gospel trio from Yuba City, California and were members of the Pastor First Baptist Church in nearby Biggs. They made the trek up to Washington state to record at Gene Breeden's Ripcord Studios, singing strictly gospel material, with a couple of songs written by Janice White, "Never Has A Man" and "Troubles Will Soon Be Over." Although I'm not sure how country this album is overall, they also included a version of Larry Gatlin's "It Must Have Rained In Heaven."

The White Sisters "Happy Meeting" (Ripcord/Charter Records, 197--?) (LP)
(Produced by Gene Breeden & Blaine Allen)
This album includes two songs, "Smile" and "Happy Meeting," both written by Janice White and published by Ripcord.

Jerry & Judie Whitener "Putting It All Together" (J & J Records, 197--?) (LP)
This husband-wife duo from from Rochelle, Illinois traveled widely as evangelical preachers, also recording a bunch of records -- unruly, surprisingly twangy stuff with a pronounced hillbilly feel, reminiscent of Wilma Lee & Stoney Cooper. This album looks to me like it was an early-1970s offering -- they refer in the liner notes to fans who liked their older records, and say they made this album as a way to recapture the feel of those earlier recordings, so I think this may have been the first of a string of LPs they self-released in the 'Seventies, with a couple of others listed below. They really harkened back to an earlier era, with an assertive rhythm section and steel guitar propelling them through jubilee and hymnal material -- definitely not a snoozy, organ-led church music set here! I'd love to have more information about them, if anyone out there can help...

Jerry & Judie Whitener "Life Is Worth Living" (J & J Records, 19--?) (LP)

Jerry & Judie Whitener "That Same Road" (J & J Records, 1975) (LP)

Whitey "Whitey Sings / Camp Weed" (Fidelity Sound Custom Records, 1963) (LP)
I mean, just... wow. Okay, yes, I admit that despite all the many times I've disparaged hipsters who make fun of old album covers online (so lame) I am adding this record to my country guide mostly because the cover art is so fabulously hilarious. Where to begin? Well, to begin with the apparently mononymic "Whitey," was actually an Episcopal priest named Rev. Herald K. Haugan, who did a lot of youth outreach in the 'Sixties, and later did some work with the Billy Graham Crusades. That said, the lack of awareness regarding his own nickname -- particularly as the American civil rights movement was at its height -- is a wonderful, enduring gift to future generations. Plus... "Camp Weed"? Did anyone ever graduate? A lot of hikers lost in the woods? Etc. And of course, that really is great artwork. What a cover! The album was conceived as a fundraiser to rebuild a church in Maclenny, Florida that burned down in early 1963, though it has since become something of a record collector cult item. Now, about the music... Surprisingly, given the gigantic cross on the cover, this actually is not strictly a gospel album, but rather a painfully earnest, largely secular early 'Sixties folk album, albeit one sponsored by Florida's Episcopal Diocese and was recorded somewhere around Tallahassee. At the time, Whitey was presumably a youth pastor at the Diocese's summer camp, which was located a couple of miles outside of Live Oak, FL, a small inland town about halfway between Jacksonville and Tallahassee. He was a decent if not dazzling acoustic guitarist, and he energetically works his way through an admirably diverse set of folk material, embracing old-school ballads such as "Rose Connelly," singalongs like "Kumbaya," a couple of Jewish songs (open minded!) and even a cover of Hank Williams's "Lovesick Blues." On the second side of the album he seems to remember who's footing the bill, and slides into a string of spiritual numbers -- "Jacob's Ladder," "Sinner Man," and "Spirit Of The Living God" -- but this record is surprisingly light on overt preachiness, given its vivid visual iconography. As turns out, though, the "echo of bluegrass" mentioned in the liner notes is pretty much aspirational: this is just an Episcopalian and his guitar, although he does pick up the tempo on a tune or two. And, yeah, the artwork is hilarious.

Slim Whitman "I'll Walk With God" (Imperial Records, 1960) (LP)

Slim Whitman "God's Hand In Mine" (Imperial Records, 1966) (LP)

Slim Whitman "How Great Thou Art" (K-Tel Records, 1993)

Joani Whitmore "The Gospel Side Of Joani/Joani Sings Country Love Songs" (Artists Records, 1973-?) (LP)
(Produced by Vic Clay)
An adequate amateur, Joani Whitmore recorded this private press album at the Rubber City Sound Studios in Akron, Ohio, dividing the disc between gospel songs and secular stuff, presumably tunes that were her favorites at the time. There are a couple of current hits, such as Donna Fargo's "Funny Face" and "Loves' Gonna Live Here Again," from the Buck Owens catalog, while the gospel side has standards such as "He Touched Me" and "How Great Thou Art." Now, in all honesty, Mrs. Whitmore (whose husband wrote some brief, loving liner notes) wasn't the greatest vocalist, and teeters out of tune most of the time. But she's heartfelt and sincere, and that counts for something. More surprising is how upbeat and enthusiastic the musical backing is, particularly on the religious numbers, which actually get pretty funky. Producer Vic Clay seems to enjoy himself, and is very generous with his accompaniment; Clay also recorded an album or two himself, and though the other musicians aren't listed on this LP, I'd imagine they were guys he regularly worked with in his studio. An imperfect, but perfectly charming "real people" record.

Jim Whittington "The Best Of Jim Whittington" (Daybreak Records, 1976) (LP)
(Produced by Kenny Wallis & Larry Whittington)

Jim Whittington "Remembers: He's Everything" (Daybreak Records, 1979) (LP)
(Produced by Kenny Wallis & Larry Whittington)

Jim Whittington & The Special Edition "Music In The Air" (Daybreak Records, 1982) (LP)
(Produced by Kenny Wallis & Larry Whittington)

Jim Whittington & The Special Edition "Some Days Are Diamonds" (Daybreak Records, 1983) (LP)
(Produced by Kenny Wallis & Larry Whittington)
A highly variable gospel offering from this North Carolina combo... The album opens with a robust, legitimately twangy rendition of "Keep On The Firing Line," followed with classics by Albert E. Brumley and Stewart Hamblin which, sadly, descend into more lethargic and churchy-sounding vocal styles, veering from cheerful Alabama-esque pop-country into more a mannered, artificial southern gospel sound, the kind of stuff you'd hear on The 700 Club, punctuated with a few slower-paced old-man songs and recitations. It didn't work for me, though there are a few things that make this disc noteworthy for twangfans... To start with, there are two Brumley tunes, including a plodding version of "I'll Fly Away," and of course the title track is a cover of a great song by the oft-times profane Dick Feller, a tune that had recently been covered by John Denver on an album of the same name. The band was anchored instrumentally by country novelty composer Roger Hallmark, a guy best known for novelty numbers like "A Message To Khomeini" and "You Don't Mess With Uncle Sam," here simply playing banjo and guitar. Also, though I'm not 100% sure, one of the group's featured vocalist, Sherri King, is probably the same gal who had taken a swing at a secular country career a few years earlier, recording a major label album back in 1976, with one single that barely grazed the Top 100. Don't quote me on that, but it seems likely.

The Whittingtons & The Thrasher Brothers "Got It Together" (Daybreak Records, 1976) (LP)
(Produced by Kenny Wallis & Larry Whittington)

Ginny Wicker "The Two Sides Of Ginny" (Back Roads Records, 1984) (LP)
Not much info on this one. Virginia W. Wicker (1922-2006) was from Kenly, North Carolina, not far from Raleigh-Durham, and recorded at least two full albums while in her sixties. This first(?) album apparently came in a plain white jacket, with no album art or liner notes. Her other album (below) was recorded in Nashville with several top-flight studio musicians, although I suppose on this one she might have been backed by local musicians. All the songs on here are Wicker originals, including novelty numbers like "Lifetime Guarantee," "Put A Splint On My Broken Heart" and "You May Call It Making Love (But I Call It Make Believe). Alas, her obituary didn't include any biographical information, and no mention of her musical pursuits, so for now she remains a mystery.

Ginny Wicker "Sings From Nashville, Tennessee" (Sky Bow Records, 1988-?) (LP)
(Produced by Louis F. Swift)
For her second(?) album, Ms. Wicker headed over the Music City, where she booked a session with several A-list Nashville studio pros. Backing her are drummer Dale Armstrong, Jim Baker (steel guitar), Larry Crews (bass), Doyle Grisham (guitar) and Willie Rainsfield on piano. Side One of the album is secular, while Side Two features gospel material, including a holiday offering, "Christmas In Heaven." As on her other album, all the songs are originals, penned by Ms. Wicker.

The Wilburn Brothers "Livin' In God's Country" (Decca Records, 1960) (LP)

The Wilburn Brothers "Take Up Thy Cross" (Decca Records, 1964) (LP)

The Wilburn Brothers "Songs Of Inspiration" (Varese Sarabande, 2011)
A swell set of country gospel drawing from two albums the Wilburn Brothers recorded on the Decca label, 1960's Livin' In God's Country and Take Up Thy Cross, from 1964. Most of the tracks have a surprisingly old-fashioned, churchy, brush-arbor feel to them, more Stamps-Baxter southern gospel than the smooth Nashville sound the Wilburns were known for... Most of the songs are standards -- "Shall We Gather At The River," "Bringing In The Sheaves" -- while some are less well-known, such as "Medals For Mothers" and "Let The Lower Lights Be Burning." Of course, the true test of country gospel set is how each type of song is handled, and there are gems in both the chestnuts and the nuggets, with several striking performances, particularly on their versions of "Angel Band" and ""Throw Out The Life Line." Although this is a much older style of gospel singing, modern-day fans will still find a lot to enjoy, and fans of the Wilburn Brothers will be pleased to hear these vintage recordings back circulation again. Recommended!

The Wilburn Brothers "Sing Hinson And Gaither" (Calvary Records, 1975-?) (LP)
(Produced by (Jimmy Capps & Nelson Parkerson)
A late-career album from Nashville insiders Doyle and Teddy Wilburn, who like many Music City old-timers had been unceremoniously dumped by their label when Decca transformed itself into MCA Records, and purged their country roster in a move to keep up with the hipper country-pop sounds of the early 'Seventies. This was a dual tribute to two different contemporary gospel groups, Bill Gaither and his band, as well as the California-based Hinson family, whose song, "The Lighthouse," had become a southern gospel standard in the early 1970s. It's a pretty solid set, with the Wilburns bringing a little more of an overt country sound to the mix, with backing from a slew of A-list Nashville pros -- guitarist Jimmy Capps, fiddler Johnny Gimble, Jeff Newman, Hargus Robbins, et.al. It's also a relatively more vigorous outing for the Wilburns than their final Decca sets: although they do sound a little long in the tooth, it's in a nice, George Jones-y, elder-statesman kind of way. This was recorded in Nashville, though released on the Calvary label, which was home to the highly-popular Hinsons and based in Fresno, California. Unfortunately, Calvary's albums were often undated and their numbering system was erratic and inconsistent, though this seems to have come out sometime around 1975-76 -- it was released around the same time as several Hinsons albums that were recorded with largely the same set of musicians, and the Hinsons themselves back the Wilburns on several tracks, including a nice cover of "The Lighthouse." Definitely worth a spin.

Ray Wilburn & Jerry Moore "Communication With Ray Wilburn And Jerry Moore" (KSS-Kennett Sound Studios, 19--?) (LP)
(Produced by Joe Keene)
Nice Chet Atkins-y guitar instrumentals from a couple of Missouri locals, guitarist Ray Wilburn and bassist Jerry Moore, with modest backing by drummer Jamie Holmes. Wilburn and Holmes were from Saint Charles and Hazelwood, MO, in the suburbs of north Saint Louis, and although I doubt they played music professionally, they were both fine pickers. Side One of the album is secular, while Side Two spotlights gospel standards such as "I Am A Pilgrim," "Lonesome Valley," and "Just A Closer Walk With Thee." Classic country guitarists such as Chet Atkins and Merle Travis are echoed in the performances and repertoire... This isn't a groundbreaking record, but it sure sounds sweet.

Marijohn Wilkin - see artist profile

The Wilkinson Brothers "Just Plain Gospel" (American Artists Records, 19--) (LP)
(Produced by Larry Wilkinson, David Dombrowski & Winnie Swaim)

Bud Williams "...Sings Songs With A Message" (Misty Records, 197--?) (LP)
(Produced by Gordon Calcote, Tony Sciarrotta & Al Johnston)
This album of uber-indie country gospel is, if you'll pardon the expression, a true godsend for the kitsch-oriented among us... Just at the outset, let me admit that Mr. Williams was not, objectively speaking, the world's greatest singer, with a half-mumbled baritone that suggests Dave Dudley with a really bad hangover. But it's not his musical limitations that make this such a ripe target for the schadenfreude patrol, but rather the music itself. Cecil Williams (1921[?]-1998) was a truck driver from Olivehurst, California, a suburb of Yuba City, just north of Sacramento, and lived in the area for over fifty years, working for a big chunk of that time at the Frank Close Lumber Company. Clearly a devoted Christian, Mr. Williams would loosely adapt hard-country hits by artists such as Johnny Cash, Dave Dudley and Merle Haggard, shamelessly transforming "Fighting Side Of Me, "Folsom Prison," and "Six Days On The Road" into heartfelt, if somewhat clunky gospel songs. That's kinda fun to begin with, but what will really wow modern listeners is his interest in current events and social commentary, with lyrics that sternly decry the hippie-era protesters and libertines, including melodramatic tirades about drug abuse that would have made Porter Wagoner proud. It's a real hoot. Also of interest -- and what made me rescue this disc from the fifty-cent bin -- was the presence of Gordon Calcote as producer. Calcote was a deejay from Southern California who recorded several records for the budget-line Crown Records label back in the Sixties, and who tried his hand at producing later on, apparently in the custom label side of the industry. Seems like a good chance Calcote plays on these sessions, although the liner notes don't explicitly tell us who the musicians were -- several people are identified as "background," including arranger Rick Foote, along with Terri Cox, Glenn Davis, Luki Davis and Bud's wife, Dorothy Williams. And don't get me wrong: I'm not making fun of this album, not by a longshot. It might be a low-rent kinda production, but the picking's pretty good, and the sentiments are one-hundred percent sincere. A nice set of unvarnished DIY Christian twang.

Buddy Williams "My Way" (DOC Records, 1978-?) (LP)
(Produced by Bill Nash & Bert Frilot)
In the early 1960s, singer Buddy Williams was in a pop vocals band called the Epics, which had a couple of regional hits on the East Coast but basically fizzled out, despite being signed to a major label. While in college at the University of Texas, he found work as a backup singer at the ACA Records studio, and got into the orbit of Bill Nash, who produces and performs on this album, as well as contributing two songs, "Come Back To Me, Girl" and "Tender Love." Most of the other songs are covers of pop and country hits, stuff like "Country Roads Take Me Home," "Tie A Yellow Ribbon" and "Me And Bobby McGee." Williams apparently did a lot of lounge singing gigs around Houston as well as out of state.

Dewey Williams & Faith "Heir To A Mansion" (197-?) (LP)
(Produced by Roger Horne & Kevin McManus)
A twangier-than-usual indie gospel album, recorded at Hilltop Studios in Nashville, with a top-flight band that included Allen Britt (bass), Sonny Garrish (steel guitar), Bunky Keels (piano), David Lawrence (drums) and Bruce Watkins on banjo and guitar. Most of the album is original material written by Mr. Williams, with additional songs from the Hopper Brothers and the Stamps Quartet, and a couple of public domain standards. Williams had a decidedly amateur vocal style -- a roughneck baritone, like an unpolished, unruly Ernie Ford, although to my way of thinking, this enhances the record, giving it an undeniably authentic, genuine feel. The backing is solid, and his vocal group, The Faith Quartet, has a solid harmony sound, reminiscent fo the early-'70s Oak Ridge Boys and their various imitators. Alas, the guys in the quartet are not identified by name on the liner notes.

Gary Williams "10 Year Anniversary Album" (Gospel Times Records, 1974) (LP)
A stripped-down set from evangelical folk-country singer Gary Williams, a surprisingly prolific artist who kicked off his career in the late 1950s as a secular honkytonk singer but got religion sometime in the mid-'60s and stuck to Jesus ever since. He recorded this album to mark his tenth anniversary as a gospel musician (having been born again in 1965) as well as it being the tenth LP he released in his career. Mr. Williams keeps things super-simple: it's just him and his acoustic guitar, with a laid-back, no frills delivery that sort of reminds me of some of Red Foley's calmer moments. It's good. Sincere, authoritative, understated though emotionally resonant... an exemplary solo gospel set. (Plus, a cover photo taken with his dog, Mickey? Extra points.) I guess now I gotta track down the nine records that came before this one!

Gary Williams "Miracle Man" (Gospel Time Records, 1975) (LP)
Another minimalist, all-acoustic set with Gary Williams singing and playing solo on an all-original collection of his own plainspoken gospel material. This is about as heartfelt and direct an album as you're likely to find... Distinctive, too: his manly, robust Jim Ed Brown-ish vocals had an archaic feel, resolutely out of step with the posh, ornate sound of the early 'Seventies countrypolitan scene. From me, that's definitely a compliment. I particularly liked his song. "Poor Men Of The World," one of those very-welcome songs where a Christian singer takes time to remember the parts of the Gospel where we are bid to be kind and take care of our less-fortunate neighbors.

Gary Williams "The Gospel Singer" (Gospel Time Records, 1975) (LP)
Still more charmingly clunky, utterly sincere gospel music from Mr. Williams... I dig this album because of its combination of plainspoken, guileless, true-believer fundamentalism, which is perfectly complimented by his musical rough edges. Every song lyric is all, "Jesus, Jesus, Jesus..." until he gets to "The Devil," where we go over to the Dark Side for a while. If you like your country gospel plain and simple, Gary Williams is your man!

Hank Williams "Luke The Drifter" (MGM Records, 1953) (LP)

Hank Williams "I Saw The Light" (MGM Records, 1953) (LP)

Hank Williams "Waiting For The Light To Shine" (MGM Records, 1960) (LP)

Hank Williams "Home In Heaven" (MGM Records, 1975) (LP)

Hank Williams, Jr. "Sunday Morning" (MGM Records, 1969) (LP)

Jeanette Williams Band "Get In The Boat" (Bell Buckle Records, 2003)
(Produced by Johnny Williams)
A nice, heartfelt bluegrass gospel album from a scrappy modern band with a pretty rootsy sound. May be too Jesus-y for more secular-minded 'grass fans, but there are several nice slow numbers that stand out, particularly "When The Harvest Has Come" and "Come Morning," which both have an old-fashioned brush arbor feel to them. This edition of the group included lead singer Jeanette Williams playing bass, Marsha Bowman on bass, banjo and mandolin, Stephen Fraleigh (fiddle and guitar) and Johnny Williams on guitar. Nice stuff!

Paul Williams & The Victory Trio "Old Ways & Old Paths" (Rebel Records, 1999)
Another fine, fine bluegrass gospel offering by this soulful old-timer. I think what I like best about this album is ho understated it is: the picking isn't flashy, and the harmonies are just as sweet as they need to be, not a bit more. Williams and his band really know how to deliver their message and then just get out of the way. If you like the picking on the old Bluegrass Album Band records, this'll be a real treat as well.

Paul Williams & Cliff Waldron "Higher Ground" (Rebel Records, 2001)
Like Williams, bluegrass revivalist Cliff Waldron abandoned the secular stage after he got religion, and later came back to the music, although as a way to spread the holy word. This is a nice pairing, with a somewhat delicate brush-arbor feel to it. Williams tends to goose things up a bit with his band, and it does feel like he's holding back a bit here... Still, if you like truegrass gospel, this is another fine album from the Williams camp. Worth checking out.

Paul Williams & The Victory Trio "Hard Working Pilgrim" (Rebel Records, 2001)
Gospel picker Paul Williams consistently blows my mind with pretty much every album he puts out. Sure, maybe the Jesus stuff isn't for everyone, but nobody has better, higher, twangier vocal harmonies than Williams and his pals, and the picking is always first rate as well, particularly his mandolin work. As always, this record rocks from start to finish... If you want some sweet sounding, authentic bluegrass, then this album should fit the bill. Recommended!

Paul Williams & The Victory Trio "I'll Meet You In Gloryland" (Rebel Records, 2002)
Another fine bluegrass gospel album by this veteran picker... This isn't the most electrifying of his albums, but it's still rock-solid truegrass. Why his band is called the Victory Trio when there are at least four of them is outside of my range of expertise, though. You'll have to ask Williams that one yourself...

Paul Williams & The Victory Trio "The Real Christmas Story" (Rebel Records, 2002)

Paul Williams & The Victory Trio "Living On The Hallelujah Side" (Rebel Records, 2003)
I'd have to say that this album has less to offer the secular bluegrass fan than other Williams efforts -- somehow the religious message seems more forceful and the music less of a balance than on his earlier albums. These guys are still a class act, with swell harmonies and sweet picking, but I think this disc may be more for true believers. I also have to take exception to Paul Humphrey's patriotic anthem, "Liberty And Justice For All," which posits that "strong faith in God" is one of the things our country was founded on, and that anyone who doesn't share William's faith is a traitor who should leave the country. Actually, my mom was an American historian, who specialized in the separation of Church and State, and I can tell you without fear of contradiction that freedom from religious persecution -- including freedom from State-sponsored religion -- was a key part of the founding of the U.S. of A, not the other way around. Characterizing those who "won't uphold God's values" (whatever that means) as "freedom thieves" and "God haters" is corrosive, ill-reasoned, unfair, and deeply, deeply offensive. Yeah, sure, the song is clever and catchy, but it's also destructive and divisive, and the exact opposite of the "love thy neighbor" message in the song's first verse. I like Williams's music and respect both his beliefs and his band, but I truly think he should be ashamed for recording such an arrogant and hate-filled tune. Oh, well. We all make mistakes.

Paul Williams & The Victory Trio "I'll Be No Stranger There" (Rebel Records, 2004)

Paul Williams & The Victory Trio "When The Morning Comes" (Rebel Records, 2005)

Paul Williams & The Victory Trio "Where No One Stands Alone" (Rebel Records, 2007)

Paul Williams & The Victory Trio "What A Journey" (Rebel Records, 2008)

Bob Willis "It's Not All Roses" (Crusade Records, 1963-?) (LP)
(Produced by Ray Harris)
An evangelical singer from Chandler, Indiana, Bob Willis wrote all the songs on here, including "Everybody's Got To Be A Nobody," "I'd Rather Die For Jesus (Than Live For The Devil)," and "America Bless God." The musicians include Bill Casolari on piano, keyboards and lead guitar, though there's no pedal steel or other "country" instruments, just a basic guitar, drums and piano combo.

Jeff Willis "Let Me Be A Witness" (2005)
According to a local newspaper story, Georgia-born singer Jeff Willis had long since given up on his dreams of country music stardom when he started working on this gospel set. A long-since settled down family man running his own storage company, Willis still enjoyed singing and was encouraged by his friends to make another album. Unfortunately, the project coincided with a throat cancer diagnosis, and while his treatment was successful, the experience certainly strengthened his sense of purpose, making the idea of salvation feel much more immediate and personal. The repertoire is a mix of gospel oldies and more modern material, including songs such as "The Anchor Holds," "Only the Blood" and "That's All." No info on the recording sessions, alas.

The Wilson Brothers "Sacred Songs In The Stanley Tradition" (Old Homestead Records, 1974) (LP)

The Wilson Brothers "Lonesome Old Home" (Vetco Records, 19--?)

The Wilson Brothers & The Bluegrass Harvesters "Preach The Word" (Old Homestead Records, 1977) (LP)
(Produced by John W. Morris)

The Wilson Brothers "My Ride Is Coming" (Old Homestead Records, 1979) (LP)

The Wilson Brothers "Time To Pray" (1984)

Bryant Wilson & The Kentucky Ramblers "Meet Me Up Yonder" (Adair Records, 1966) (LP)

Jerry Wilson "Going Home!" (ADA Records, 19--?) (LP)

Chubby Wise "Precious Memories" (Stoneway Records, 1971) (LP)

Joe Wise "Hand In Hand" (Fontaine House Records, 1968) (LP)
(Produced by Fontaine House)
This appears to be the first album by folk-gospel singer Joe Wise, of Louisville, Kentucky, a prolific recording artist who may or may not also be the same guy who did session work on countless country gospel albums recorded in the Dayton/Louisville/Cincinnati axis. Though very heartfelt and emotive, this album was disappointing (from a twangfan's perspective) with its parade of mid-tempo folk ballads, many of them apparently designed to be sung in rounds at church events. The material is original, although the approach sounds remarkably dated for an album recorded as late as 1968; this has more of a 1963-ish feel, akin to folk revival acts such as The Tarriers, or maybe like Tom Paxton working off a hangover. If it is the same Mr. Wise, then he definitely got a little grittier as the years went by...

Mac Wiseman "Mac Wiseman Sings Gospel, Vol. 1" (Music Mill, 2001)

Mac Wiseman "Mac Wiseman Sings Gospel, Vol. 2" (Music Mill, 2001)

Dusty Cal & Bonnie (Witham) "Songs Of The Old Country Church" (Soundcraft Associates, 196--?) (LP)
A married couple from Rochester, New Hampshire, Calvin G. Witham and Clara C. Witham (1925-2012) were secular country stars in the late 1940s, before they got religion in 1951 and shifted towards gospel music. Cal Witham had a career going back to the mid-1940s, and was partnered up with another New England country picker, Clyde Joy, for a couple of years after the war. For several decades the Withams were connected with the Lone Star Ranch country music venue in Reeds Ferry, New Hampshire, and at the time this album came out "Dusty Cal" was a performer on a country show broadcast from Manchester's WMUR-TV. Their career found the couple working both sides of the Massachusetts/New Hampshire state line, though they eventually settled down in Cambridge, MA in 1985. They are accompanied on this album by organist Beverly Smith, and Warren Carney on guitar. The set was recorded in Cambridge, Massachusetts; later the Withams moved to Hanson, MA, south of Boston, where Cal Witham served as an ordained minister, and later moved to Cambridge.

Cal Witham & Bonnie Witham "...Sing The Gospel Country Style" (Bolt Records, 19--?) (LP)
(Produced by Buzz Whittica, Buck Carney & Richard Nevue)
The old-time country duo of Cal & Bonnie started out as a secular act, but went gospel later in life, with Mr. Witham becoming an ordained Baptist minister, in Hanson, Massachusetts. This album is mostly packed with standards, including a patriotic medley performed by John Phipps on the Wurlitzer organ. Producer Buck Carney plays dobro and guitar, and was apparently the co-owner of Bolt Records, which gives its address as the Lone Star Ranch, in Reeds Ferry, New Hampshire.

Ken Withington "Don't Try To Stop Me" (Focus Records, 1974) (LP)
Australian-born gospel singer Ken Withington (1945-1997) billed himself as "the singer from down under," though he emigrated to the US and became a citizen in 1977, eventually settling down in Kern County, California, performing both locally and on the national stage, including appearances at the Grando Ole Opry. Before his move to America, Withington also recorded in Australia, including this early '70s LP.

Ken Withington "He's Risen" (JCL/Jesus Christ Is Lord, 19--?) (LP)
(Produced by Clyde Beavers)
After moving to the States, Withington became one of the clients for Nashville songwriter Clyde Beavers' gospel-oriented JCL label, which produced Southern Gospel records in the late 1970s. Withington still had some twang to him, though, as seen in his inclusion of several Hank Williams songs...

Ken Withington "I Thank You God" (JCL/Jesus Christ Is Lord, 19--?) (LP)
(Produced by Clyde Beavers)

The Wolcott Family "Movin' Up" (Homestead Records, 1982) (LP)
(Produced by Don Sheets & Mark Walcott)
Bluegrass gospel from a family band from Bloomington, Indiana... The group was made up of four siblings -- Debbie Wolcott on bass, Kevin Wolcott (fiddle), Mark Wolcott (banjo), and Mike Wolcott (rhythm guitar) -- along with lead singer Denise Arnett and Joe Edwards on guitar. I'm not sure if they performed at Indiana's "Little Nashville Opry," though they were produced by one of its organizers, Don D. Sheets. Most of the songs are gospel oldies, traditional material and chestnuts such as Alfred E. Brumley's "I'll Fly Away," though the title track, "Movin' Up," is credited to Mark Wolcott.

The Woodettes "Six Hours On The Cross" (Redwood City Sound, 1971) (LP)
(Produced by Molly O'Day-?)
A sibling-harmony group made up of several sisters from the Woods family, originally from Lawrence County, Kentucky... The gals all married and took on new surnames -- Joyce Berry (bass vocals), Jackie Brunner (alto), Willa Goins (lead), Mary Davis (tenor) and Shirley Kitchen (alto) -- and moved to various parts of Kentucky and Ohio. They were later brought together as a musical group at the insistence of their parents, while lead singer Willa seems to have married one of the Goins Brothers, the bluegrass band backing them on this and their other albums, while Joyce gives a contact address in Columbus, Ohio. According to the liner notes on this early 'Seventies album, the sisters had a gospel show on radio station WEMM, in Huntington, West Virginia

The Woodettes "Country Gospel" (Glory Land Records, 1972) (LP)

The Woodettes "Fireside Memories" (Jessup Records, 1973) (LP)

The Woodettes "Just One Rose Will Do" (Glory Land Records, 1977) (LP)
(Produced by Jack Casey & Marvin Jones)

Vera Woods "The Golden Streets Of Home: Introducing The Country Soul Sound Of Vera Woods" (Benson Sound Records, 19--?) (LP)
Produced by Larry Benson & Jim Ford)
Um, yes please...! I would very much like some kind person to send me a copy of this very Loretta Lynn-looking country gospel album. I promise to put it to good use. This was one of zillions of discs recorded at Larry Benson studios in Oklahoma, but methinks there's more twang here than on many of Benson's more poppy southern gospel sets -- especially with the presence of steel player Doug Campbell and Jimmy Jay playing lead guitar. Ms. Woods seems to have been a teenager at the time this was made, and was related to a Reverend Sam Woods, a preacher living in Arlington, Texas. Alas, I don't think this timeframe allows her to have also been the same Vera Woods who sang hillbilly hits with Dick Reinhart back in the 1940s, but that sure would have been cool.

Vera Woods "Meet My Jesus: Featuring The Country Soul Sound Of Vera Woods" (Benson Sound Records, 19--?) (LP)
Produced by Larry Benson & Chet Barnett)

The Wright Family "When All God's Children Get Home" (197--?) (LP)
Marvelously hyper-rural, backwoods gospel by a family band from Caryville, Tennessee... Many tracks feature the group's keening vocal chorus backing a haunting female vocalist in what sounds to my untrained ears like a shape note tradition -- solid, simple melodic arcs with hard rhythmic beats. Stripped-down, simple guitars plunk along guiding the group -- it's a bit like if Ralph Stanley had joined an even more-rural Carter Family, real bedrock stuff. I stumbled across this one while on YouTube and unfortunately haven't been able to find any mention of the record anywhere else. No info on the individual bandmembers, or about the album itself. Sure sounds great, though!

The Wright Family "Six Hours On The Cross" (19--?) (LP)

The Wright Family "A Wonderful Singing" (Tri-State Recording Company, 1971-?) (LP)

The Wright Family "We'll Shake Hands In That Land" (Joyful Sound Records, 1978-?) (LP)

Larry Joe Wright "This Is Larry Joe Wright" (Challenge Records, 19--?) (LP)
(Produced by James Goss)

Larry Joe Wright "Everything's Under Control" (Challenge Records, 19--) (LP)
(Produced by Stan Dacus & Joe Goss)
Flowery, countrypolitan-tinged Southern Gospel... Though there's some legitimately country backing from the Goss Brothers vocal group (and other unidentified musicians) I would be hard pressed to actually recommend this one, mostly because I am not a big fan of the showy, blustery baritone style favored by Mr. Wright. Though the label is from Dallas, Texas, the sessions were cut at LeFevre Studios, in Atlanta, Georgia -- I'm not sure if Larry Joe Wright was originally from Texas, though he built up his own evangelical ministry in Fort Worth, and provides a Dallas address on this disc. He has recorded several albums over the years, but I think my curiosity is satisfied for now.

Tammy Wynette "Inspiration" (Epic Records, 1969) (LP)

Tammy Wynette & George Jones "We Love To Sing About Jesus" (Epic Records, 1972)

Tammy Wynette "Inspirational Favorites" (Ranwood Records, 1998)
This disc reissues all eleven tracks from the original Inspiration album, along with a bonus song, "Precious Memories."

Don Wyrtzen "Happiness Is The Lord" (Singcord Corporation, 1972) (LP)
The "tinge of country/western flavor" mentioned in the cheery liner notes is perhaps a bit more aspirational than inspirational: this is a fairly bland, non-twangy set of white Christian music, composed by three writers attached to the Zondervan Publishing House -- John Helder, John W. Peterson, and Don Wyrtzen. Wyrtzen was the son of evangelical preacher Jack Wyrtzen, and at the time of this recording was a "youth editor" for Zondervan -- he went on to become a prominent Christian music composer. This record's chirpy female vocals and generally sluggish pacing are offset by some jazzy, playful piano playing that seems a bit influenced by Charlie Rich, probably by Wyrtzen himself. Overall, though, this disc was fairly disappointing, from a twangfan's perspective.

Hick Music Index