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The culmination of a sequence of events put in motion by two music business leaders, Sacred Soul of North Carolina<\/i> is an audio document of the current state of a fascinating genre. An early 2020 cultural excursion by Music Maker Foundation\u2019s Tim Duffy and Memphis-based record label head Bruce Watson yielded both new recordings \u2013 showcasing the stirring talents of eleven sacred soul artists \u2013 and a companion documentary film, set for release later this year.<\/p>\n
The album\u2019s assortment shows that \u2013 in North Carolina, at least \u2013 today\u2019s gospel is informed by myriad other styles while maintaining its core values. From Greenville, N.C., Dedicated Men of Zion are the most well-known name on this new collection. Their two contributions to the album \u2013 \u201cIt\u2019s a Shame\u201d and the title track of their 2020 debut record \u2013 are previously released. But their importance (not to mention their sterling quality) makes the inclusion of those tracks a wise decision.<\/p>\n
The Glorifying Vines Sisters rely on nothing more than a minimal thumping beat to support their stirring, a cappella \u201cTell it All to Jesus.\u201d Johnny Ray Daniels takes things in more electric direction with his two cuts; the exuberant \u201cSomewhere to Lay My Head\u201d and \u201cGlory Glory\u201d have all the passion and fire of rock \u2018n roll; that energy is simply directed in a heavenward direction.<\/p>\n
On \u201cTell It,\u201d Big James Barrett & the Golden Jubilees draw upon vintage textures \u2013 Rhodes piano, phase shifters \u2013 suggesting what it might have sounded like had a gospel group commandeered Pink Floyd\u2019s instruments during the recording of 1977\u2019s Animals<\/i>. Their \u201cUse Me Lord\u201d has a more r&b feel from the same period.<\/p>\n
Big Walt & the Faithful Jordanaires are a male answer to the Vines Sisters; their \u201cAsk God in Faith\u201d is reminiscent of a field holler. Faith & Harmony combine Detroit girl group textures and gospel on \u201cVictory\u201d and \u201cWe Will Work.\u201d While the former is vocal-only, the latter features a rousing, organ led ensemble.<\/p>\n
The Johnsonaires\u2019 \u201cHe\u2019s Coming Again\u201d is perhaps the most \u201cchurchy\u201d cut on the collection, but it will inspire even the unchurched. When the group plugs in for \u201cTrying to Make It,\u201d they bring the house down.<\/p>\n
Bishop Albert Harrison & the Gospel Tones present a minimal, blues-based electric arrangement for \u201cShake Me.\u201d The group sets aside its instruments for the call-and-response harmony of \u201cStand Up.\u201d There\u2019s a subtle reggae flavor to \u201cI Want to Be Ready\u201d by Little Willie & the Fantastic Spiritualaires. The group shows off its instrumental chops in service of the shouted\/sung \u201cHave You Tried Jesus.\u201d<\/p>\n
After a succession of highly-charged numbers, the intensity is dialed down for the vocal and Wurlitzer piano \u201cNo Ways Tired\u201d by Marvin Earl \u201cBlind Butch\u201d Cox. The song demonstrates that pop values and pure gospel can peacefully coexist.<\/p>\n
Sacred Soul of North Carolina<\/i> ends on a familiar and deeply inspirational note. Accompanied by absolutely nothing but the listener’s rapt attention, Melody Harper leans into a soul-stirring reading of \u201cAmazing Grace.\u201d It\u2019s a fitting way to end an album overflowing with inspiration.<\/p>\n","protected":false},"excerpt":{"rendered":"
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