Reviews (2)

Blind Willie Johnson,master of slide guitar
Blind Willie Johnson, 1900 ? - 1949 ?
According to blues guitarist Tom Shaw (1908-1977),who met Johnson at the end of the twenties,he was much older,probably born between 1880 and 1890.Blind Willie Johnson is a master of slide guitar, very reminiscent of the way Fred McDowell used to play.This wonderful Yazoo record includes many great tunes of sacred music by this extraordinary player and singer : "you're gonna need somebody on your bond","Jesus make up my dying bed","God moves on the water","I know his blood can make me whole","motherless children have a hard time" and the incredible "dark was the night,cold was the ground",maybe the strongest and strangest piece ever recorded.Played in pure F,this very emotional tune seems to have some strong african roots,and Johnson's slide work is absolutely out of this world.
Johnson may not be a blues musician,because he never recorded a blues,only sacred songs, but the stamp of the blues is everywhere in his music.He sure had a great influence on many blues guitar players,beginning with Mississippi Fred McDowell.
Blind Willie Johnson's music is as essential as Robert Johnson's,or Mississippi John Hurt's,or Son House's.I bought this record on LP many years ago, and it has allways been one of my favorites.You'll rarely hear a stronger music,and a more furious guitar playing.And the sound quality is very good,all the tunes beeing recorded between 1927 and 1930.An essential record in the history of Great Black Music .

Reviews (61)

The Guitar and The Voice - What Else Do You Need?
It was a completely unexpected move. In 1994, country music legend Johnny Cash agrees to cut an album produced by rap producer Rick Rubin for Rubin's American Recordings label. The result: The first of four priceless recordings that rival anything else from Cash's outstanding body of work.

The collection includes old songs, new songs, songs written by Cash, and songs written by others. Cash's music has always been marked by great storytelling and honesty, but this recording takes the Man in Black's storytelling and honesty to a whole other level. When you listen to "The Beast in Me," you hear the raw honesty in Cash's voice and you know that he's lived every word of Nick Lowe's lyrics. "Drive On" addresses one of Cash's most passionate topics: the trails and tribulations of Vietnam veterans returning home and the people who don't understand them. "Thirteen" is a dark, brutally exposed portrayal of a life gone wrong, one that has never been on track and never will be. Who else but Cash can convincingly sing the lyric "I pray you don't look at me/I pray I don't look back"?

It took a lot of courage for Cash to do this album. Think about it: Columbia Records had dropped him years before. Now here he was, making a recording not with his band, but with only his voice and his guitar. With one man and one guitar, there's not much you can hide. If the music is true and honest, it'll come through. If it's not, that'll come through too. But the result is true, naked, honest, courageous music. It doesn't get any better than this. Johnny Cash lays it all on the line like no one else ever has...and probably never will.

DISC TIME: 41:52

The Man In Black Introduces Himself To A New Generation
Johnny Cash's three albums (so far!) for Rick Rubin's maverick record company deserve a massive tome dedicated to analyzing the significance of the man's achievement at this late a day in his career. Although Johnny Cash has almost always been a restless creative spirit that has continued to produce great work decade after decade, before this 1994 album hit music stores he was thought of as a has-been and irrelevant to a younger generation that had its own new, vital music by the likes of Nirvana, Pearl Jam, Beck, REM, etc.

While later albums such as Water From The Wells Of Home as well as his immortal Sun singles & late 60's/early 70's material kept Cash from being completely forgotten, his star had dimmed considerably. Looking back, it is suprising that his American Recordings album wasn't initially derided as desperate. For someone of Johnny Cash's stature to cover Thirteen & rewrite the Blind Willie McTell classic 'Delia' to include a verse about automatic weapons is a very risky venture. Obviously, it paid off far better than anyone had a right to imagine.

The opening track, Delia's Gone, is one of two magnificent recent takes on the chestnut. One year earlier, Bob Dylan (not coincidentally, one of the handful of living artists in Cash's league) made it the defining track on his excellent World Gone Wrong cover album. But where his would not have sounded out of place on a Harry Smith anthology, Johnny Cash's is resolutely of the moment. It's a hard-worn performance, like Dylan's, but it goes one better by also being sidesplittingly funny. Where Dylan uses it to bemoan an impossibly screwed up universe, The Man In Black can't help but laugh at it all. And why not? Even at his most political, or reaffirming his faith & devotion to Christianity, Johnny Cash has always been a remarkably unjudgemental and unflappable soul.

It took several listens for me to come to terms with Cash on Danzig. Not because I couldn't buy it, but because I had to take the extra time to absorb how genius I thought it to be. AR, Unchained & AR III will, in my humble opinion, come to be viewed by later generations as this great, great artists' crowing achievement. Nowhere else in his catalogue does he so perfectly & generously reveal how many boundaries he has crossed with his music and that no matter the song or the writer, if it is good Johnny Cash can bring it home. More than any other country artist, he enjoys popularity among a wide demographic. Young and old. Black and white. Rich and poor. Gay and straight. An important factor in this is how he has, very quitely, built up such an eclectic body of work. A body of work with conscience, conviction, integrity and the humor not to take such things too seriously.

I could go on about the individual performances; all gold. Down There By The Train, Why Me Lord?, The Man Who Couldn't Cry, O Bury Me Not.....all of which deserve their own individual chapters in that aforementioned book. But, if you are reading this, chances are you are a member of the choir. Which is to say,
you love great music. There will never be another Johnny Cash. Just like there will never be another Miles Davis or another Dorothy Parker. Just be glad we were lucky enough to get them the first time around!

Reviews (46)

Perhaps Dylan's Best Album
This is one of Dylan's most mature albums, both lyrically and musically. I am not sure why one customer reviewer wonder "where are his clear critcial views?" They are HERE, and with force. Social/Religous commentary springs forth in prophetic tone on "When You Gonna Wake Up" (which is critical of religious hypocricy, disregard for the elderly, doctors-pushing drugs, and on and on), "Slow Train," and "Gotta Serve Somebody." My favorite song is "When He Returns," a moving and profound ballad, with beautfiul imagery: "Surrender your crown on this bloodstained ground, take off your mask. He sees your deeds, he knows your needs, even before you ask." From the slow to the grinding, this album is a powerful, moving, expression of Christian music. So-called Dylan fans who can not get past the 1970's and can not accept that Dylan has grown and matured and improved are really missing out on something here.

Slow Train Comin'
It is the truth that every one of us knows that there is a God and that we need him, but unfortunately we all supress that truth in one way or another because it tends to make us extremely uncomfortable. We like to at least feel like we are in control of our lives. This is the wrath of God, that he gives us over to ourselves. Well, Bob Dylan decided to recognize God's control over his life and he sings about it! The music is great, but I will admit that Dylan's lyrics do not measure up to the depth of many of his previous albums, which is unfortunate because knowing God reaches the very depths of the human heart and mind. But Dylan tends to sing giving his opinions, and this album is no different, except that hope is found throughout them.

Simply the best Spiritual Music I have heared.
Of all the albums I own,somewhere between 500-1000?
This is without doubt the most Spiritual.
I think if limited to just 5 albums on a desert island (or even on the 'island' we all live on)

Street Legal
Slow Train Coming
Saved
Shot of Love
Infidels

Reviews (40)

surprisingly enjoyable
i will keep this brief......i have been a fan of bob for about ten years and have every album released and have absolutely no interest in organized religion.......but i surprisingly continue to come back to give this album a listen.......i completely enjoy it....and feel that slowtrain coming and saved rank among his best works.....he is so inspired and it just flows out of him.....i would disagree with anyone that feels that this is a bad album...much less his worst....i would rate his worst as probably empire burlesque, and down in the groove.....since they both have very little to recommend them......saved however just shows yet another facet of the mans ever changing persona .........and proves that only dylan could write religious music that no one else will ever match ......although he only did it as a detour.....while other people spend their whole lives trying to write one, song about their faith, as great as the songs on saved....and it's companion slow train coming.........like it or not as far as religion goes....this is some of the best and most enduring christian music ever written

Highly underrated
Because I was not much of a fan of "Solid Rock," the track chosen to represent this album on "Biograph," not to mention hearing only negative reviews, I put off buying this album for a long time. It's unfortunate that many Dylan fans make the same mistake. This is certainly his strongest work of the 80s, next to Oh Mercy, and it stands on its own as being a great album. It's true that the music often sounds a bit muddled (I hear it sounds better on vinyl), and his vocals lack the force and skill demonstrated on Slow Train Coming (where his vocals were perfect), but unlike STC, Dylan seems sincere about Christianity (despite lines such as "He must have loved me oh so much to send me someone as fine as you") as some sort of answer, and not as a means to rant about politics (amusing as it was on STC). This is not an angry album. The main influence here is gospel music, and as a gospel record, it's a good one. I myself am not religious at all, but that doesn't really interfere with my enjoyment of "Saved," as is the case with some other Dylan fans I know. This is also the last album until Oh Mercy that is spared the fate of thin, strange 80s production. That began with the the 3rd of the religious trilogy, Shot of Love, and it's unfortunate, because that album suffers immensely from it.

Rollicking, Emotional, Sincere - among the best
In the early days of Dylan's career, it took Joan Baez's ANY DAY NOW (ASIN/B000000EKG) and other folk rockers to reveal to people the amazing lyrical nature of Dylan's melodies, which were often concealed behind his now-famous "raunching and rheuming voice" (Tom Wolfe.) Interestingly, once his musicality is discovered, that voice is found to reveal more with its vulnerability and transparency. You don't want anyone else but Dylan to sing, "How does it feeeel.." or "Seeeerve somebody."

SAVED is stuck in the blind spot for many reviewers. This time it is not the voice, but the testimony (to use the Christian word.) And the negative reviews are hiding behind pecksniffian dismissal of the songs' "lack of musicality" or "lyrical depth" or other phrases that seem to have been stolen from a smarmy NPR review. I can prove it: take a listen to the album GOTTA SERVE SOMEBODY: THE GOSPEL SONGS OF BOB DYLAN (ASIN/B00008NGAJ) by the likes of Aaron Neville, Dottie Peoples, Sounds Of Blackness, or Rance Allen. Listen to Saved, Pressing On, Are You Ready - and tell me that there is ANY lack of musical variety and beauty (as well as joy and inspriration) or lyrical insight!

Then, of course, return and listen to Dylan do the same songs. Who else can touch the ache of the heart, speaking to its maker, "What can I do for you?" or praise Him for a "covenant woman?" or the committment to keep "pressing on."

Reviews (3)

"Blues" finds its hope in "Faith" via blind guitarist...
Gary Davis was born blind, black, and broke in South Carolina in 1896. Big obstacles, but he also was blessed with talent and got paid for his guitar-pickin' by the time he was a teen. Ordained as a minister at age 36, he changed his song inventory to Gospel and hymns exclusively. He ended up in NYC, performing at mostly Black churches and on the streets. In the late '50's, the "Folk Revival" of blessed memory provided him a brief celebrity beyond those venues. This album was recorded in 1960 at the Jersey jazz studio of the legendary engineer Rudy Van Gelder. You get 44 minutes of soul survival stuff here, and any blues buff ought to own it. The more casual fan may have to listen a few times to really like Gary's vocals, but his guitar work is fun from the first chord. The recording quality is excellent. To me, the only flaw is that each song would have benefitted from one fewer sung verse, and one more instrumental passage. It's not that Gary's voice is any more rough than other bluesmen. The problem is that the lyrics of these church songs belabor the point and get a bit repetitious. Still, he was one of the best of his kind. Imagine him at 64, alone in the recording booth for three hours, doing 20 songs, of which these are supposedly the best takes of the best 12. He had not recorded anything in four years: in fact, he had only recorded in 1935, '54 and '56 prior to this August 24, 1960 session. On that day, Kennedy and Nixon were running for president, the Pittsburgh Pirates and the Yankees were heading toward a classic World Series, and I was living about 40 miles south of the studio, getting ready to begin 11th grade. Rev. Davis was doing something more important: preserving the Black church songs of early 20th century for posterity.

The Best Davis Introduction Available
My collection includes all of The Reverend's recorded works. If you are going to buy just one Davis disc -- or if you are looking for a good introduction to this Blues/Ragtime master, "Harlem Street Singer" is unquestionably the best choice. The recording captures Davis at his most passionate vocally and at this top of his game as a gutarist. A lot of his early work suffers from poor recording technology, however this disc sounds like it was cut in a 21st Century studio.

I'm not a religious person, but Davis' music is almost enough to send me running to church. The piercing conviction of the lyrics and sycopated guitar in Twelve Gates, Great Change and Samson and Deliah still send chills of guilt up my spine.

As good as it gets.
If you enjoy both blues and gospel music, you will discover on this CD that for Reverend Davis there is no distinction between the two forms. Samson and Delilah and Death don't Have No Mercy were tunes that influenced The Grateful Dead and other Rock bands, but here you get the full, original impact of these songs.

Reviews (2)

This will reach you, religious or not!
Several songs are a raw confrontation with death. Ideology is not here. Real human feeling is. The music is superb bluegrass, with a variety of tempos.

Excellent from top to bottom
This CD is excellent from top to bottom. The late Keith Whitley fronts the band and leaves you sorry that he died at the age of 33. His voice was made for this type of music and every song has you wanting to sing along.

As always, Ralph Stanley takes Bluegrass Gospel where only he can take it with his high tenor voice.

Some of the best on the album are "Over In Gloryland", "Jesus Savior Pilot Me", "I've Just Seen the Rock of Ages" and "I am Weary."

The sound of this album was of much better quality than expected with both the vocals and insturmentation being extremely clear (recorded in the 70's, I wasn't sure what to expect).

Reviews (10)

Intelligent, Poetic Lyrics
Keaggy subdues his masterful guitar here to take us to a diversity of paces and styles. Keaggy is not famous for his singing, despite his Paul McCartney similarity. However, on so many songs here, he shines.

Phil Keaggy's eponymously named album won't thrill his "Crimson and Blue" or "Sunday's Child" fans, and the fans of his more instrumental work might find this is not the Phil Keaggy they know. A few cuts might grab them, like the opening pop rocker, "A Sing Came Through A Window," which has that "Sunday's Child" beat to it.

On the whole, the album is a mix of neo-celtic tunes, pop and easy listening CCM radio music. There are points at which I wonder if Charlie Peacock or Michael Card were involved, thanks to the unusually solid lyrical stylings presented here.

The title of "Beneath The Blood-Stained Lintel" alone draws poetic imagery. It lyrics are well-sung, as he keeps tempo and rhythm with some difficult to articulate phrasings. Keaggy finds the source of its lyrics in "The Continual Burnt Offerings" by H.A. Ironside.

"Beneath the blood stained lintel I with my children stand.
A messenger of evil Is passing through the land.
There is no other refuge from the destroyer's face.
Beneath the blood stained lintel shall be our hiding place."

"Tender Love" comes off insipidly. His delivery and material lacks much to be excited about. What sounds like what was to be a triumphant anthem results in yesterday's pop sound. He repeats the chorus past its intrigue.

Worthy of note is the quiet "Quite Suddenly," also from Ironside:

"Quite suddenly, it may be in His house I bend my knee,
When a Kingly voice long hoped for
Comes at last to summon me.
And the fellowship of earthlife
That has seemed so passing sweet,
Proves nothing but the shadow of
Our meeting round His feet."

I fully recommend "Phil Keaggy" by Phil Keaggy.

Anthony Trendl

Another Gem in a Canon of Masterpieces
"Phil Keaggy" is self-titled and with good reason. This recording represents every aspect of Phil's personality and talent: stellar guitar playing ("A Sign Came Through the Window," "Beneath the Blood-Stained Lintel"); Beatlesque melodies ("Tender Love"), hard-rocking originals ("Chase the Bad Away"), and, most importantly, lyrics that express Phil's innermost feelings and faith ("Under the Grace").

The musicianship on every song on this disc is stellar, and the lyrics serve as a witness to how faith in Christ helps a person to face and transcend any problem that may arise.

The recording, as is usual for Phil's newer discs, is clean and well-balanced.

Standout tracks include the piano-based "Under the Grace" with its soaring chorus and message of hope, "A Sign Came through the Window" with closing harmonics lifted from Phil's live performances, and "Quite Suddenly" with its gorgeous acoustic guitar-based melody. But every song has something to recommend it. This is a very consistent recording.

"Phil Keaggy" is Phil's best disc since his classic "Love Broke Thru". And knowing the quality of Phil's recordings, this is really saying something. Enjoy the music AND the message!

Asin: B0000080FM
Sales Rank: 159861
Subjects:  1. Blues    2. Pop   

Reviews (3)

The Real Deal
The old time blues/gospel music on this collection is as real and raw as it gets. You'll recognize lots of the tunes but you have never heard them like this. If the first and last tracks of this album don't move you, you're half dead anyway!

Solid rural black gospel blues
Every track on this collection is solid rural blackgospel blues. Fred McDowell is joined in his vocals by his wife and three members of Hunter's Chapel in Como, Miss. McDowell accompanies the group on bottleneck guitar.

This is the powerful, raw blues polished not in the recording studio but in life. Their voices blend in an emotional range ranging from rough and raw to nearly lyrical. Jesus Is On the Main Line could have easily come off a recording from the teens or twenties. You Got to Move has a smoother, more forties and beyond sound. Amazing Grace is a wonderful rendition with the voices interweaving - somewhat as if you merged the call and response style with a lining out style -- the result is absolutely spectacular.

A different kind of gospel
If you think Amazing Grace is a cliche, you probably haven't heard the very different rendition found on this album.

Simple, unembelished, and raw, the arrangements here bring out the emotional complexity, irony, and anger in southern black christianity.

Reviews (13)

What a Delightful Album!
I've been a Bruce Cockburn fan since I first discovered 1984's Stealing Fire. Upon hearing that album, I proceeded to buy all of Cockburn's back catalog I could find. (This wasn't always easy since his popularity outside his native Canada has unfortunately limited Cockburn to cult status stateside.)

Dancing in the Dragon's Jaws (originally released in 1979) still retains much of the folky feel of his earlier work since his self-titled debut in 1971. Cockburn's acoustic guitar playing is masterful and his voice is a perfect fit for his reflective, pensive lyrics, especially on the lovely "Badlands Flashback" (which is sung in French).

Other highlights include "Hills of Morning," "Northern Lights" and "Wondering Where the Lions Are," the latter being Cockburn's only foray into the American Top 40 where it peaked at No. 21.

This is a kinder, gentler Bruce Cockburn than the one found on Stealing Fire and beyond, but that doesn't diminish the treasures found on this album. HIGHLY RECOMMENDED

Wondering Where the Lions Are
This 1979 album is timeless. It does not sound like 1979 at all. Cockburn's acoustic guitar playing is understated yet beautiful. The songs don't necessarily stand out, yet, when the cd is over, I just play it again.... Also, it contains in my opinion his most enjoyable song:'Wondering Where the Lions Are'. I first heard about Bruce Cockburn in the early 80's when I purchased 'Stealing Fire' (****). I don't like his politics and thus did not buy anything else (political lyrics seemed to overshadow the music). I then heard his playing on 'The Best of Columbia Radio,Vol II' and decided to try his newer material. I purchased 1994's 'Dart to the Heart'(*****) and was mildly surprised; he had topped 'Stealing Fire'! The music on 'Dart' is beatiful pop! That finally led me to 'Dancing in the Dragon's Jaws' after I heard 'Wondering where the lions are' on the radio and had to have the song. I was not dissappointed and you won't be either... Musically, 'Dancing' and 'Dart' are his best.

one of his best ones
I have about 10 of Bruce's albums, and after listening to them for a few years I would have to say this is one of his best. It does not have the instant appeal of some of his later work, however it does have a relaxing complexity that grows on you.

Many of Bruces anthems of the 80's were loud, heavily political and may to many seem a little dated. Albums such as 'Stealing fire' may be great, but the appeal doesn't last. This album has survived remarkably well - perhaps due to its acoustic, lighter feel.