Sacred Music with Jo Stafford

Some unusual Jo Stafford sacred music selections for you tonight.

First is an EP recorded in October 1954 and issued in late 1955. The first two songs ("Each Step of the Way" and "Lord, Keep Your Hand on Me") were written by Redd Harper for evangelist Billy Graham's first film, Mr. Texas, released in 1951. "The Lord Is My Shepherd" is a Ralph Carmichael song, and "It is Springtime" is from Ted Silva.

Stafford never sounded more at home than when singing gospel music, and this is quite a good record in excellent sound.

Despite recording these evangelical songs, both Stafford and her husband Paul Weston were Catholics. In the early 1960s they began a company called Corinthian Records, which began by issuing Catholic liturgical music. The second LP in the series was "We Sing at Benediction," which was designed to teach Catholics the music and prayers of this service. It was a strange idea - it's not as though Catholics would be unfamiliar with their own liturgy. Much of the album is devoted to a fellow named Joseph Rottura instructing us on how to pronounce the Latin of the prayers and songs. His approach is highly Italianate, with rolled R's and elided H's. This is distinctly not the way I was taught to pronounce Latin through years of instruction in the language, but Rottura is intent on his approach, telling us the proper pronunciation will be more pleasing to God. He must have been surprised two years hence, when the Church tossed out the Latin liturgy altogether.

Of course, the main attraction of the record is hearing Jo Stafford singing several hymns, and she does this quite well. However, unless I am misremembering events of 50 years ago, these hymns would then have been presented by the celebrant and congregation, not by a solo singer. Anyway, they are beautiful to hear as done by Stafford. The tracks where she performs are indicated as "sung". Good mono sound from this 1961 LP.

Sister Rosetta Tharpe

It's time for something different from the diet of symphonies, singers and musicals that have been on the menu here lately. So here is the powerful-voiced gospel singer Sister Rosetta Tharpe on an early 1950s LP made for Decca.

Tharpe was an early crossover artist - in two senses. She crossed over from gospel music to sing with jazz bands, and she crossed over to achieve considerable success among white audiences. This LP is an example of Decca attempting to broaden her appeal among the new audience for folk music that had been created by such artists as Leadbelly, Josh White and the Weavers. Tharpe's repertoire here includes the most well-worn gospel songs (Amazing Grace, Rock of Ages) and the liner notes are by folklorist Alan Lomax.

When this LP was made, Tharpe's greatest successes were behind her, but she had not lost a bit of her skill. The melismatic singing style that she represents has been enduringly influential - almost to the point of being unendurable as today's singers compete to cram as many notes as possible onto one syllable. Few if any of today's vocal phenoms can compete with her power and presence, captured well on this record.

Unfortunately, this pressing has seen much use over the years - and while Sister Rosetta's voice is undimmed, it also is accompanied by some unwanted noise, for which I apologize in advance.

REMASTERED VERSION - OCTOBER 2014

Oiltown, U.S.A.

Oiltown, U.S.A. was one of the first films made by the organization of the popular evangelist Billy Graham. This 1953 film was set in Houston and was the story of a hard-driving oilman who finds God.

Graham was set on using the popular arts as a publicity tool for his ministry, and he was able to get RCA to issue this 10-inch LP containing several musical numbers and one of his addresses.

On hand for the music was George Beverly Shea, a bass-baritone who has been associated with Graham since 1944 and who is still with us at age 100. Shea made many records for RCA in the 50s. Two of his songs here, accompanied by Paul Mickelson at the mighty Wurlitzer, are a bit somnolent, but the final tune with Ralph Carmichael's chorus and orchestra is well worth hearing.

The music also features Andy Parker and the Plainsmen, a Western group that had recorded for Capitol and appeared in films and on the radio. They back Redd Harper on one song, and, most notably, Cindy Walker on her own composition Christian Cowboy. Walker was one of the greatest country music songwriters, but somehow her performing talent escaped my notice until now. Here she shows herself as a superb singer (although with a lazy-S that I find oddly reminiscent of the young Wayne Newton). Christian Cowboy is a derivative of Riders in the Sky (recorded by everyone from Bing to Buckethead); instead of cowboys who have been damned to chase cattle across the sky, in Walker's version they are born-again riders who are roping souls.

Graham starts his sermon by telling the listeners (apparently a group of businessmen) that he isn't there to tell jokes or clever stories (which makes me wonder how many business groups would engage an evangelist to come in to tell jokes and clever stories). His remarks have an anti-Communist spin that put me in the mind of Bishop Fulton Sheen, heard in an earlier post; much different from the Bible-based comments of fellow evangelist Myron Augsberger, who made an appearance here not long ago.

At a Mennonite Revival Meeting

This record takes us inside a Mennonite tent revival meeting of the mid-1950s, with both music and a message from evangelist Myron Augsberger. The Mennonites are a group of Protestant denominations that believe in adult baptism and pacifism.

The stereotype of a revival meeting is one of overt emotionalism intended to evoke a commitment to God. This example could hardly be less like that stereotype. The familiar songs are sweetly presented and unaccompanied. The evangelist presents an almost intellectualized version of Christ's death. He does not make demands on, cajole, or warn his listeners about sin. His message is of faith and redemption. (He also speaks as rapidly as any preacher I have ever heard.)

Indeed the typical revival experience and the Mennonite culture were always somewhat at odds. As Theron Schlabach writes in a review of a book on this very movement (a movement called Christian Laymen's Tent Evangelism, headquarted in north central Ohio), revivalists have been criticized for "manipulating people in ways that have victimized children or the spiritually and psychologically insecure," but Myron Augsberger's approach was different. These recordings bear that out.

The LP was made sometime after Augsberger took over the movement in 1955 and before it changed its name to the Christian Laymen's Evangelistic Association in 1958. The movement itself continued until 1962. Augsberger, whom I believe is still alive, went on to become president of Virginia's Eastern Mennonite College, which he served for many years.

The sound on this record is fairly good; but the rustling and occasional peak distortion show that it was heavily used and clearly well-loved.

NEW LINK

The Johnson Family Singers

"Each Sunday morning at this time Columbia presents fifteen minutes of hymns and sacred songs with the Johnson Family Singers... a father, mother, and four children. Southern-born, steeped in the tradition of the Deep South, the Johnson Family Singers bring to the well-beloved, familiar songs of Christian people everywhere a sweetness and simplicity of interpretation."

This is the way the Johnson Family Singers were introduced during their radio heyday of the 40s. It gives a bit of the background of this group, captures their style - but the fact that it was being read on one of the major radio networks also conveys that the Johnson Family Singers were a commercial success.

Betty with Ma (Lydia) and Pa (Jesse) Johnson

This 1955 record - one of the group's earliest albums (it may be the first; I'm not sure) - also conveys some of that duality. The record is earnestly presented, but it's also contains several of the most well-worn pop gospel staples. The group is backed by studio musicians, who are quite good but also give the record a slick feel.

If this sounds critical, I don't mean it to be. The Johnson Family Singers are favorites of mine, and they spawned a very good pop singer, Betty Johnson (on the left in the cover photo), who was often seen on American television in the late 1950s and made several excellent albums.

Note: this album has now been remastered and augmented with four additional songs found on the 12-inch LP version. Addendum (September 2024): this LP is now available in ambient stereo via the link below.

LINK to Old Time Religion

The Evangelistic Ensemble

The Evangelistic Ensemble was a Cleveland-based gospel group that put this item out on Christ Records in the (I’m guessing here) late 50s. The group is fervent if not inspired, and the recording is adequate if not glamorous. The piano had its best days about 40 years prior to this recording being made.

If it sounds like I am down on this group, that’s not true. They have an earnest charm and work up a good head of steam when the material calls for it. It’s enjoyable and instructive to listen to the many gospel records that were issued on small labels in vinyl days, commemorating communities of worshipers and often their pastors. The church on this one is not identified, and I haven’t been able to find anything on the web about the group. They are apparently gone except for this memento, which is a fine remembrance.

I've listed this under the heading Esoterica, not because gospel music is esoteric, but because the record itself is. This series will include private pressings and other items that weren't generally available in record stores.

LINK