The Grand Old Gospel Porter Wagoner and The Blackwood Brothers Quartet

• 1 When I Reach That City 01:44
• 2 Hide Me, Rock of Ages 03:18
• 3 The Family Who Prays (Never Shall Part) 02:40
• 4 My Last Two Tens 02:52
• 5 If We Never Meet Again 02:53
• 6 Good Mornin' Neighbor 02:34
• 7 Trouble in the Amen Corner 03:45
• 8 There's a Higher Power 02:05
• 9 I See a Bridge 03:03
• 10 I'm Using My Bible for a Road Map 02:18
• 11 A House of Gold 02:37
• 12 Wait a Little Longer, Please Jesus 02:45
• Total Runtime 32:34

Info zu The Grand Old Gospel

Recalling an era of all-night singalongs and Sunday dinners on the ground -- that old time religion, as the song says -- The Grand Old Gospel and More Grand Old Gospel are rare examples of mainstream Nashville releases making plain the connection between the country gospel of acts such as Porter Wagoner and the Southern gospel of great quartets such as the Blackwoods.

Though this longstanding fellowship has rarely been played up in any explicit sense, let alone exploited commercially, the two styles have always shared an audience. In fact, countless country stars through the decades have first learned to sing in the Southern gospel style prominent at camp meetings and other revivals, or in the traveling shape-note singing schools that proliferated in the first half of this century.

Wagoner was no exception to this rule, raising his youthful voice with a Baptist church congregation on old numbers such as 'When The Roll Is Called Up Yonder'. And make no mistake: Though the two acts get equal billing here, these albums are Porter Wagoner projects through and through. Wagoner and the Blackwoods are accompanied by an A-team band that doesn't do anything much differently than it would have on any other Wagoner release -- though that does sound like the quartet's longtime accompanist, Wally Varner, chording along at times, even kicking off a few numbers.

In fact, the Blackwood Brothers -- who, along with the Statesmen, were the finest groups Southern gospel produced -- barely provide much more than backing vocals on most tracks. Missed opportunities aside, though, 1966's Grand Old Gospel and 1967's More Grand Old Gospel are consistently engaging efforts, of a piece both with one another and with Wagoner's solo gospel work. Consequently, they're both worth hearing in full, but especially on numbers such as 'Where No One Stands Alone' -- where the harmonies feature the piercing tenor of Blackwood Billy Shaw -- or when the group tackles material as strong as 'I'll Fly Away' and 'Rank Strangers' (featuring church organ and a brief lead by James Blackwood). Each of those cuts are on More Grand Old Gospel.

The earlier album testifies most persuasively on a rousing, pedal steel-driven 'When I Reach That City' and a cover of the Louvins' 'The Family Who Prays', as well as on the complete James Blackwood lead featured on 'I See A Bridge'. And, as always, Wagoner's earnest speaking voice shines on recitations such as the poignant 'My Last Two Tens'.

In 1968, Porter and the Quartet teamed up for a third time on Porter Wagoner & The Blackwood Brothers In Gospel Country. One day, it should be reissued too, but a more deserving next move might be to reissue some of the finer separate releases by these two acts. Perhaps a twofer of Wagoner's The Cold Hard Facts Of Life and The Carroll County Accident; or a disc combining the Blackwood Brothers' two RCA-era live albums, 1961's On Tour! and 1963's On Stage! Talk about some grand old gospel! (David Cantwell, www.nodepression.com)

Digitally remastered

Porter Wagoner
was one of the first showmen of Country Western music. His "hillbilly deluxe" suits designed by Nubie Cohn set a trend for flashy dressing and showmanship followed by Elvis Presley, Wagoner's protege Dolly Parton, and others. Wagoner was on the cutting edge of other things, as well, such as the "concept album," in which the songs of such an album are unified in a theme. Also, he was not afraid to reach across his genre of music and invite other performers onto the stage of the Grand Ole Opry, of which he was the master of ceremonies. However, he incurred the wrath of many when he brought "the godfather of Soul,"James Brown onto its stage 1979 despite having Brown sing "Your Cheatin' Heart" and another country song. Nevertheless, his action demonstrated his innovative personality as he went on to invite other artists such as R&B Joe Simon because he felt that the show was the star, not the individual performers, and there should be variety. In this way, he launched the careers of many performers.

The Blackwood Brothers Quartet
was formed in 1934 with brothers Roy, Doyle, James and Roy's son, R.W. In the late 50s Roy and Doyle retired from traveling and in 1954 R.W. was killed in a tragic airplane crash. However the quartet with James, as the quartets' leader and spokesman, established a new group of singers who would go on to take Gospel music to new heights as they traveled and sang in all fifty of the United States, every Canadian province as well as cities in Great Britain, Europe, the Middle East, Northern Africa, South Africa, Japan, Taiwan, Thailand, South Korea, Hong Kong and the Philippines. In 2002, James Blackwood went to be with the Lord, but his sons, Jimmy (James Jr.) and Billy have continued the 80-year tradition. Recently Jimmy retired after singing for 49 years and his younger brother, Billy now carries on the quartet which has the distinction of being the best-known name in Gospel Music history!

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