Various - When I Reach That Heavenly Shore (Unearthly Black Gospel 1926-1936) flac album

For that reason, When I Reach That Heavenly Shore offers a glimpse of gospel’s early calls and responses, its first hallelujahs and amens. This gift of extemporaneous expression is at the heart of the recordings contained in this modest collection, King writes in the liners. The variety of regional approaches to sacred song in this e hymnody, verse ‘lining,’ unbridled ecstasy, and plaintive mourning-are all informed by the then recent experience of slavery and by the then current state of Jim Crow. As King states in his liner notes, When I Reach That Heavenly Shore displays the breadth of gospel styles in pre-WWII America, from the intense sermonizing of Rev. A. W. Nix to the rural acoustic blues of Mother McCollum. The differences between these styles are often obvious, even if King provides no background on any particular track or performer.

Tompkins Square’s When I Reach That Heavenly Shore: Unearthly Black Gospel, 1926-1936 is their third 3-CD collection of archival gospel since 2009’s Fire in My Bones: Raw + Rare + Otherworldly African-American Gospel (1944-2007). That first collection and its follow-up, This May Be My Last Time Singing: Raw African-American Gospel on 45rpm: 1957-1982, were produced by Mike McGonigal from his private collection. This music is, we are told, raw and otherworldly and unearthly", all terms that marginalize the performers and their cultural traditions from contemporary listeners. There’s something of a marketing ploy at work here, of course, emphasizing the exotic, but Edward Said has demonstrated the problem of such declarations: exoticism disempowers its subject, rendering its value as a curiosity in contrast to dominant cultural practices.

Mother McCollum - When I Take My Vacation in Heaven 14. Rev. Emmet Dickinson - What the Men Wanted the Women Was Sitting O. Recorded between 1926 and 1936, and done for commercial labels, these are really pre-gospel pieces, religious and sacred songs done in blues, street jazz, choral, and other styles, and some of them are simply passionately delivered proto-rap-like rhythmic sermons. Modern gospel as a distinct musical genre had yet to be codified, and what we really have here are the roots of all that. There's a little bit of everything, from unclassifiable artists like Henry Thomas, a black Texas street singer who played his guitar like a banjo, self-accompanied by quills (pan pipes), to East Texas street.

When I Take My Vacation In Heaven.

Various artists, "When I Reach That Heavenly Shore: Unearthly Black Gospel, 1926-1936" The latest addition to the Tompkins Square label's ongoing gospel series, this rafter-rattling collection lives up to its title. The artists on this three-CD (and vinyl) compilation aren't well known, but their voices, songs, and sermons are primal treasures. Various artists, "Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985" The breadth of material and emotion on this two-disc collection is incredible.

When I Reach That Heavenly Shore: Unearthly Black Gospel, 1926-1936 Audio CD. Various Artists. I know gospel music and I only recognized one or two names out of this entire collection. That said, the selections range from the primitive and downright quirky to quartets that would have Ira Tucker looking over his shoulder. I live in Cocoa Beach, Fl. so imagine my surprise when i discovered one of the tracks as originating from Cocoa, maybe three miles from my house!! The sad fact is that not a single "Positive Music" MacChristian station will play this. I'm sure "Sinners Crossroads" will play it, and so will I on "Rev. Billys Rhythm Revival.

Various Artists When I Reach that Heavenly Shore: Unearthly Black Gospel 1926-1936 Tompkins Square Records 2014. This is my biggest stretch. The only connection to Christmas we have here is the Christian center of this music.