#Spirituals

[haveyouheardthisband]

[haveyoulistenedtothisalbum-poll]

Tracklist:

Zeal & Ardor • Run • Death to the Holy • Emersion • Golden Liar • Erase • Bow • Feed the Machine • I Caught You • Church Burns • Götterdämmerung • Hold Your Head Low • J-M-B • A-H-I-L

Spotify ♪ Bandcamp ♪ YouTube

[hooked-on-elvis]

Spirituals, "Elvis On Tour" (1972)

The informal gospel session filmed for the documentary "Elvis On Tour" was recorded on March 31, 1972 at RCA's Studio C, Hollywood. During the session, Elvis and his musicians gather to sing a few gospel songs that Presley would soon release in his album "He Touched Me" (April 3, 1972). This contemporary gospel music album earned Elvis Presley the second Grammy award of his career (of total three).

"LEAD ME, GUIDE ME" — Written by Doris Akers.

Snippet from "Elvis On Tour" (1972) and studio album release:

"BOSOM OF ABRAHAM" (also known as "Rock My Soul") — Written by William Johnson, George McFadden e Phillip Brooks.

This songs has actually been released as single the previous month the scene in which EP sings the track for the "Elvis On Tour" documentary was filmed (February 29, 1972). "Bosom of Abraham" is B-side to the title song of his soon to be released newest gospel album, "He Touched Me" (April 3, 1972). Below, the front and back cover of the singles.

Snippet from "Elvis On Tour" (1972) and studio album release:

"I JOHN" — Written by William Johnson, George McFadden e Phillip Brooks.

This scene was filmed in a different day that the informal gospel session, in early April 1972.

Snippet from "Elvis On Tour" (1972) and studio album release:

PICTURE BELOW in from March 31, 1972. Same day as the gospel session took place at the RCA studio, Elvis was interviewed by Pierre Adidge and Robert Abel (producers and directors of "Elvis On Tour" documentary).

Footage is available on Youtube and you can listen to it HERE.

During this interview, Elvis is asked about his taste for music and his inspirations. He mentions that, in spite appreciating all types of music, he grew up with gospels and it's a part of who he is more than anything else.

Elvis Presley, March 31, 1972. ♥

[thecreativemillennial]

[plus-low-overthrow]

The Golden Gate Quartet - Judgment Day (Jazz Stars Series, Columbia)

Gospel.

[pealeii]

i don’t know what moses hogan was on when he composed the battle of jericho but i need it desperately

[luuurien]

Young Fathers - Heavy Heavy

(Neo-Psychedelia, Art Pop, Neo-Soul)

Short and euphoric bursts of neo-psych combined with African spirituals and the communal power of gospel, Heavy Heavy is both Young Father’s densest album to date and their most agile. These explosive pop songs bring a life to their music like never before.

☆☆☆☆

Young Fathers’ music has always been steeped in the power of connection, but never quite like Heavy Heavy. The trio’s multiracial makeup and embrace of both African musical tradition and their own futuristic blend of soul, hip-hop, glossy electronica and bombastic pop has made them one of the United Kingdom’s most compelling groups, willing to be a bit abrasive in order for their ideas to come across as vibrant as possible (see their sophomore release White Men Are Black Men Too or cuts from Cocoa Sugar like Turn or Picking You as examples), but Heavy Heavy rejects that angst in favor of an album that embraces spontaneity and joy, expanding on those elements of spirituals and gospel for a potent 30-minute album of absolute energy and emotional release. In places, Heavy Heavy is pointed in its politics, but it’s always in service of the communal heart of the album, about how people come together to celebrate one another and transcend that pain, thickly laid on the ears but delicate in its goals. The album is overwhelming with momentum, Young Fathers offering simple affirmations in their lyrics that grow into magnificent, transformative moments of pure feeling be it joyous or sad or furious, Heavy Heavy built to “...expel all {they} needed to expel.” By turning away from the slow-burn songcraft and linear R&B of their previous projects and towards short bursts of energy that convey so much in the span of just three minutes, Heavy Heavy makes its half hour of music some of the most transcendent of the year. Unburdened by the tension Cocoa Sugar used to make its statements on diasporic life and political discord within the U.K., Heavy Heavy manages its bigger ideas without having to be as direct in their delivery. Album single and opener Rice touches upon the exploitation of African land and resources (“We are mining / I am golden / You're not finding what we're holding”) without losing sight of the power solidarity with others holds, the explosive chanting of “These hands can heal” halfway through trading struggle for ecstatic resistance, and later highlights I Saw and Sink or Swim contrasting their own social commentary - Brexit for the former and drug dependence for the latter - with bombastic choruses and euphoric mantras. It’s often about the atmosphere of the songs more than anything else, but it works for Heavy Heavy because of how alive everything Young Fathers’ is doing is: the way Drum so vividly conjures the experience of sharing space with others through its playful songwriting and Kayus Bankole’s beautiful verse in Yoruba, or how Ululation hands vocal duties over to close friend Tapiwa Mambo for a heavenly embrace of everything a voice can do, with lush pianos and noisy synth pads sitting under her sturdy Shona singing of gratitude and hope. They don’t need to say much because the music connects with you in ways that language can’t do on its own, Tell Somebody’s gentle ambient pop swelling into a gargantuan finish where the band’s simple ask for honesty lands with desperation and heartache while the hefty groove and soft piano leads in Holy Moly embody the spontaneity and tension in its writing, Heavy Heavy as much about what Young Fathers are saying as it is how important the compositions are in making their intentions clear. Without the power and rich colors behind their writing, these songs wouldn’t be able to immerse you so deeply. The constant intensity of Heavy Heavy does lead the album to be a bit inconclusive, never quite finding stability by the time Be Your Lady comes to close things out, but more often than not the maddening pace of Heavy Heavy prevents it from coming undone. A few select tracks, Geronimo and Shoot Me Down try opening up the music to create a tender midsection, but they’re unable to resolve because of it, coming to life and fading away without grabbing your attention quite as swiftly as the rest of the songs, but the compromise between the ebb and flow of the songs is something Young Fathers generally balance quite well, Tell Somebody able to act as a comedown between the buoyant Drum and dreamy centerpiece Geronimo while the trilogy of Ululation, Sink or Swim and Holy Moly work together to give the final half of the album one more peak before it comes to a close. Young Fathers have never been afraid to experiment with their form, and Heavy Heavy reaps mighty rewards from their willingness to let the music guide itself, letting Rice wander about its handclap rhythms and plucky electronics before rushing into one final chorus that ensures the album kicks off on a delightful note. Though its restlessness can occasionally be a disadvantage, so much of Heavy Heavy’s power comes from always letting their creativity guide them without trying to direct it in only one direction. Heavy Heavy is about feeling, and not once is there a moment where the light of Young Fathers’ music is dimmed. Every song is glowing and expertly crafted, designed to move along with and sweep you into the band’s world of dizzying emotion. Without one specific goal in mind, Heavy Heavy touches on all sorts of ideas while cradling them in the ideals of communal warmth and connection letting you dance to the band’s volcanic pop and feel whatever it makes you feel - excitement, nervousness, sadness - anything goes here, and it makes Heavy Heavy one of the easiest to love albums in recent memory.  It ends quickly, but that means their offer to be fearless in expressing your deepest desires is always open. There’s always the opportunity to come to Heavy Heavy and let all your energy out in one fell swoop, Young Fathers achieving the universal understanding of one another their music has always strived for in one tightly-packed, always delightful listen. The transcendence of Young Fathers has never been so powerful and liberating.

[the-eastern-witch]

From our last Friday magic ritual called " Mimbar Holistika" part 2

[ohthisisgonnasuck]

Loaded 16 tons -- & what do you get?

"Another day older & a-deeper in debt" ....

♫ if you see me comin / bet-ta step a-side / a lot-ta men didn't / a lot-ta men died ♫

...

♪ with one fist of iron & the other of steel / IF THE LEFT DON'T GET YOU THE RIGHT ONE WILL!!! (We loaded 16 tons)

[haveyouheardthisband]

[mannytoodope]

Odetta - Another Man Done Gone

[thejoyofviolentmovement]

Throwback: Happy 108th Birthday, Pops Staples!

Throwback: Happy 108th Birthday, Pops Staples! @mavisstaples

December is a busy month in music history: The 89th anniversary of Little Richard’s birth was on December 6 R.E.M.’s Peter Buck celebrated his 66th birthday on December 6 Yasiin Bey/Mos Def celebrated his 49th birthday on December 11 The Time’s Morris Day celebrated his 65th birthday on December 1 R.E.M.’s Mike Mills celebrated his 64th birthday on December 17 The Rolling Stones‘ Keith…

[singeratlarge]

SONG OF THE WEEK! “Workin’ on a Building” https://johnnyjblairsingeratlarge.bandcamp.com/track/workin-on-a-building-live-9-02…For years this gospel song has been a staple of my live set, played with equal fervor in churches, dive bars, concert halls, wherever. It’s believed it came from a 19th Century calypso work song sung by slaves in the Caribbean, and that crossed into the lexicon of Negro spirituals. In 1920s it became popular and is now a blues-gospel standard, famously played by BB King, Bill Monroe, Elvis Presley, The 77s, Swan Silvertones, and other notables. I learned it from the Blue Ridge Rangers/John Fogerty version, which he drew from the touchstone 1934 Carter Family record—Oddly, A.P. Carter copyrighted it and added his writing credit even though it was already credited to Lillian Bowles and Winifred O. Hoyle (with slightly different lyrics). Meanwhile, you don’t have to be a carpenter to get the floor plan of this song…

#building #working #work #construction #contractors #gospel #spirituals #blueridgerangers #johnfogerty #CCR #carterfamily #billmonroe #elvispresley #BBKing #The77s # #MichaelRoe #MikeRoe #12stringguitar #slideguitar #johnnyjblair #singeratlarge #music #song #SeventySevens #Massachusetts #concert