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Voice of the Spirit, Gospel of the South
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Voice of the Spirit, Gospel of the South in Chattanooga, TN
Current price: $17.99

Barnes and Noble
Voice of the Spirit, Gospel of the South in Chattanooga, TN
Current price: $17.99
Loading Inventory...
Size: OS
This project began as an exploration of traditional Appalachian
gospel
songs, the kind of territory that
A.P. Carter
and
the Carter Family
made their own when they started their recording career in the '20s, but as the sessions went on, the focus expanded until
Voice of the Spirit, Gospel of the South
ended up a more general survey of a variety of
Southern gospel
approaches as seen through the eyes of
contemporary country
,
, and
bluegrass
artists.
The Carter Family
starting point was no accident, though, since the producer here is
John Carter Cash
, who just happens to be the son of
June Carter
Johnny Cash
, placing him well in the line of legacy.
coaxed
Johnny
into the studio in June of 2003 to track a song for the project,
"Uncloudy Day,"
which ended up being not only the one song
recorded after
June
died, but was the last song he was to record at all. As such,
"Uncloudy Day"
is a particularly simple, direct, and unadorned capstone to a remarkable career.
Cash
's vocal, sounding fragile in spots, is made even more poignant for being his last, but there is a certainty in its timbre that makes the song sound ultimately (if heartbreakingly) hopeful. Another clear highlight is
Mavis Staples
' (with help on guitar from
Marty Stuart
) stark and bluesy version of
"Twelve Gates to the City,"
but arguably the two most striking tracks are a pair of songs written by
George Washington Phillips
"Denomination Blues"
"What Are They Doing in Heaven Today?"
Phillips
, a zither-playing
blues
preacher who recorded in the late '20s, possessed an uncanny ability to write songs that unwound with almost conversational melody lines, and his sung sermons were as much or more meditations on his personal philosophy as they were exercises in accepted religious dogma.
Rodney Crowell
's version here of
Vince Gill
's take on
both retain the flow and feel of the original recordings, while managing as well to make the songs speak in a contemporary context. And that, in the end, is the strength of
, for these are old songs that continue to have a spiritual and political utility. They can only fail us if we forget them. ~ Steve Leggett
gospel
songs, the kind of territory that
A.P. Carter
and
the Carter Family
made their own when they started their recording career in the '20s, but as the sessions went on, the focus expanded until
Voice of the Spirit, Gospel of the South
ended up a more general survey of a variety of
Southern gospel
approaches as seen through the eyes of
contemporary country
,
, and
bluegrass
artists.
The Carter Family
starting point was no accident, though, since the producer here is
John Carter Cash
, who just happens to be the son of
June Carter
Johnny Cash
, placing him well in the line of legacy.
coaxed
Johnny
into the studio in June of 2003 to track a song for the project,
"Uncloudy Day,"
which ended up being not only the one song
recorded after
June
died, but was the last song he was to record at all. As such,
"Uncloudy Day"
is a particularly simple, direct, and unadorned capstone to a remarkable career.
Cash
's vocal, sounding fragile in spots, is made even more poignant for being his last, but there is a certainty in its timbre that makes the song sound ultimately (if heartbreakingly) hopeful. Another clear highlight is
Mavis Staples
' (with help on guitar from
Marty Stuart
) stark and bluesy version of
"Twelve Gates to the City,"
but arguably the two most striking tracks are a pair of songs written by
George Washington Phillips
"Denomination Blues"
"What Are They Doing in Heaven Today?"
Phillips
, a zither-playing
blues
preacher who recorded in the late '20s, possessed an uncanny ability to write songs that unwound with almost conversational melody lines, and his sung sermons were as much or more meditations on his personal philosophy as they were exercises in accepted religious dogma.
Rodney Crowell
's version here of
Vince Gill
's take on
both retain the flow and feel of the original recordings, while managing as well to make the songs speak in a contemporary context. And that, in the end, is the strength of
, for these are old songs that continue to have a spiritual and political utility. They can only fail us if we forget them. ~ Steve Leggett
This project began as an exploration of traditional Appalachian
gospel
songs, the kind of territory that
A.P. Carter
and
the Carter Family
made their own when they started their recording career in the '20s, but as the sessions went on, the focus expanded until
Voice of the Spirit, Gospel of the South
ended up a more general survey of a variety of
Southern gospel
approaches as seen through the eyes of
contemporary country
,
, and
bluegrass
artists.
The Carter Family
starting point was no accident, though, since the producer here is
John Carter Cash
, who just happens to be the son of
June Carter
Johnny Cash
, placing him well in the line of legacy.
coaxed
Johnny
into the studio in June of 2003 to track a song for the project,
"Uncloudy Day,"
which ended up being not only the one song
recorded after
June
died, but was the last song he was to record at all. As such,
"Uncloudy Day"
is a particularly simple, direct, and unadorned capstone to a remarkable career.
Cash
's vocal, sounding fragile in spots, is made even more poignant for being his last, but there is a certainty in its timbre that makes the song sound ultimately (if heartbreakingly) hopeful. Another clear highlight is
Mavis Staples
' (with help on guitar from
Marty Stuart
) stark and bluesy version of
"Twelve Gates to the City,"
but arguably the two most striking tracks are a pair of songs written by
George Washington Phillips
"Denomination Blues"
"What Are They Doing in Heaven Today?"
Phillips
, a zither-playing
blues
preacher who recorded in the late '20s, possessed an uncanny ability to write songs that unwound with almost conversational melody lines, and his sung sermons were as much or more meditations on his personal philosophy as they were exercises in accepted religious dogma.
Rodney Crowell
's version here of
Vince Gill
's take on
both retain the flow and feel of the original recordings, while managing as well to make the songs speak in a contemporary context. And that, in the end, is the strength of
, for these are old songs that continue to have a spiritual and political utility. They can only fail us if we forget them. ~ Steve Leggett
gospel
songs, the kind of territory that
A.P. Carter
and
the Carter Family
made their own when they started their recording career in the '20s, but as the sessions went on, the focus expanded until
Voice of the Spirit, Gospel of the South
ended up a more general survey of a variety of
Southern gospel
approaches as seen through the eyes of
contemporary country
,
, and
bluegrass
artists.
The Carter Family
starting point was no accident, though, since the producer here is
John Carter Cash
, who just happens to be the son of
June Carter
Johnny Cash
, placing him well in the line of legacy.
coaxed
Johnny
into the studio in June of 2003 to track a song for the project,
"Uncloudy Day,"
which ended up being not only the one song
recorded after
June
died, but was the last song he was to record at all. As such,
"Uncloudy Day"
is a particularly simple, direct, and unadorned capstone to a remarkable career.
Cash
's vocal, sounding fragile in spots, is made even more poignant for being his last, but there is a certainty in its timbre that makes the song sound ultimately (if heartbreakingly) hopeful. Another clear highlight is
Mavis Staples
' (with help on guitar from
Marty Stuart
) stark and bluesy version of
"Twelve Gates to the City,"
but arguably the two most striking tracks are a pair of songs written by
George Washington Phillips
"Denomination Blues"
"What Are They Doing in Heaven Today?"
Phillips
, a zither-playing
blues
preacher who recorded in the late '20s, possessed an uncanny ability to write songs that unwound with almost conversational melody lines, and his sung sermons were as much or more meditations on his personal philosophy as they were exercises in accepted religious dogma.
Rodney Crowell
's version here of
Vince Gill
's take on
both retain the flow and feel of the original recordings, while managing as well to make the songs speak in a contemporary context. And that, in the end, is the strength of
, for these are old songs that continue to have a spiritual and political utility. They can only fail us if we forget them. ~ Steve Leggett
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