W.N.G.I. - Underground Society - Dreadful Days (CD, Album)
Dorsey, originally for Mahalia Jackson. It was among the first gospel recordings to sell one million copies. Init was one of the first songs recorded by a young Sam Cooke, during his tenure as lead singer of the Soul Stirrers.
Before an audience estimated at Over the next 11 months, the International Red Cross in Geneva, with the help of the US Air Force, organized the distribution of both perishables and non-perishables purchased with the above-mentioned funds Swiss Francs The song is well known by variations of the chorus:.
Steal away, steal away, steal away to Jesus! Alexander Reid, a minister at a Choctaw boarding school, heard Willis singing the songs and transcribed the words and melodies. An arrangement of the song is included in the oratorio A Child of Our Time, first performed inby the classical composer Michael Tippett — Inthe Library of Congress honored the song as one of 50 recordings chosen that year to be added to the National Recording Registry.
Alexander Album), a minister at the Old Spencer Academy, a Choctaw boarding school, heard Willis singing these two songs and transcribed the words and melodies. The song enjoyed a resurgence during the s Civil Rights struggle and the folk revival; it was performed by a number of artists. Perhaps the most famous performance during this period was that by Joan Baez during the legendary Woodstock festival. It became associated with the English national side. The song is still regularly sung at matches by English supporters.
The lyrics were written by the Rev. Thomas A. Dorsey, who also adapted the melody. Dorsey can be seen telling this story in the gospel music documentary Say Amen, Somebody. It was Martin Luther King Jr. It was also performed by Ledisi in the movie and soundtrack for Selma in which Ledisi portrays Mahalia Jackson. It was later adapted by Zilphia Horton, amongst many other activists, in connection with the civil rights movement.
Although the words of the song have a Biblical theme, it is unclear as to which specific Bible verse it is based upon. Today, many versions of the song are available. Harry Dixon Loes, who studied at the Moody Bible Institute and the American Conservatory of Music, was a musical composer and teacher, who wrote or co-wrote several other gospel songs. The song has since entered the folk tradition, first being collected by John Lomax in A city that is set on an hill cannot be hid.
Neither do men light a candle and put it under a bushel, but on a candlestick; and it giveth light unto all that are in the house. Let your light shine before men, that they may see your good works and give glory to your Father who is in the heaven.
It has often been published with a set of hand movements to be used for the instruction of children. Although its origins are unknown, the song was relatively popular during the s as a religious tune, and it became a gospel hit in the late s for singer-guitarist Sister Rosetta Tharpe. After switching from acoustic to electric guitar, Tharpe released a more secular version of the song in the early s.
Lomax and Alan Lomax, who discovered the song while making field recordings in the American South in the early s and included it in folk song anthologies that were published in and These anthologies brought the song to the attention of an even broader audience during the folk music revival of the s and s. Between andthree other black religious groups recorded it. Lomax and his son Alan made a field recording of the song by black inmate Walter McDonald.
This secular adaptation has since become a rock standard recorded by many artists, including Dale Hawkins, Bo Diddley, Cliff Richard three timesand The Remains. Though it originated as a Christian hymn, it is often played by jazz bands. This song was famously recorded on May 13,by Louis Armstrong and his orchestra.
The origins of this song are unclear. The first known recorded version was in by the Paramount Jubilee Singers on Paramount No author is shown on the label. The earliest versions were slow and stately, but as time passed, the recordings became more rhythmic, including a distinctly uptempo version by the Sanctified Singers on British Parlophone in Even though the song had folk roots, a number of composers claimed copyright in it in later years, including Luther G.
Presley and Virgil Oliver Stamps, R. The tune is particularly associated with the city of New Orleans. A jazz standard, it has been recorded by many jazz and pop artists. Since the first and second lines of a verse are exactly the same, and the third and fourth are standard throughout, the creation of one suitable line in iambic tetrameter generates an entire verse. The song is apocalyptic, taking much of its imagery from the Book of Revelation, but excluding its more horrific depictions of the Last Judgment.
The verses about the Sun and Moon refer to Solar and Lunar eclipses; the trumpet of the Archangel Gabriel is the way in which the Last Judgment is announced. As the hymn expresses the wish to go to Heaven, picturing the saints going in through the Pearly Gatesit is entirely appropriate for funerals.
Search for:. Here are a small selection of popular early gospel songs, their origins, meanings and legacies. Spring's music is tasteful with compositions featuring elegant keyboards and guitars and equally powerfully intoxicating measures of the same when needed to emphasize the lyrics and give listeners chunks of instrumental passages that have become typical for this type of music. This reissue includes original artwork with gatefold sleeves housing two high quality pressed Gram vinyl LPs.
Almost each song is a highlight of its own - except perhaps one or two and bonus tracks didn't impress me either. But maybe this album is a bit too sweet and cheesy to give five stars as I originally did I spent some time researching and was able to find a few bios of the band and reviews of their only album, but much of the material is clearly second- or third- hand information, and much of it seems to have simply been copied from other sources.
The band apparently hails from Leicester England, and formed some time in The album features three Mellotron players, although it doesn't really sound all that awash with the unusual sound that instrument tends to make.
And I wouldn't say these guys were exactly experts of the device. They have been compared Album) the Moody Blues, and I can hear the resemblance, although I would say they seem more like what the Moody Blues would have sounded like when they were still playing in their parent's basements or high school gyms, or wherever it was they played before they became really good.
Also, if you imagine Justin Hayward with a lisp imitating Boz Skaggs, you'll get something of an idea what Spring singer Pat Moran sounds like. I've listened to this album 25 or 30 times since I bought it, and I've gotten to the point where his voice isn't a distraction anymore, but it is definitely an acquired taste. Two things are usually pointed out in reviews of this album: one, that the band claimed the only overdubs in the studio were of the guitar player's tracks, which if true is a very impressive statement about the band's abilities in managing to keep the temperamental Mellotrons running; and two, that drummer Pique Pick Withers would later become the only really famous musician of the group, as a member of Dire Straits.
Apparently the band toured the UK as the opening act of the Velvet Underground in As near as I can piece together, that must have been the VU's tour in the fall of after "Loaded" was released and Lou Reed had left the group, so that's kind of interesting. There may or may not be another album that was recorded W.N.G.I. - Underground Society - Dreadful Days (CD the group before they disbanded in - it kind of depends on how accurate some of the various web sites with pieces of the band's history are.
There are three tracks at the end of the CD reissue, although the keyboards on these are organ and a little piano, but no Mellotron. As for the original eight tracks, there's nothing about them or the album that connects any kind of critical dots as far as the history of progressive music is concerned. Other than Withers, and some later studio and production credits for Moran and guitarist Ray Martinez, Spring doesn't seem to have any particularly impressive musical pedigree to their credit.
The songs are kind of interesting though, albeit very steeped in an early 70's sound. I have no idea what the song is about since Moran's voice is not only garbled and lispy, but has a strong British accent to boot.
I think I made out "jumping coins that seem to laugh" and "eight by ten on the second floor, fumes that creep beneath the door", but that's about it. Who knows. There's nothing to make this song all that appealing, although after several dozen listens, it isn't irritating either, so there's that at least.
There's a short chorus that gets repeated a lot "nights go on when days pass by, storms blow up and down", but I can't make out the rest of the words. There's also a nice verse - "If inside of Hades I should fall", something. There's a short Mellotron moment accented by the guitar at the end that's actually quite nice, but that's about it for this one.
It seems to be a song about a guy's women who took off. Think of it as a British progressive equivalent of Otis Redding's "Sittin' on the Dock of the Bay" and you'll get the picture - "I'm sitting and watching the boats on the river, the last train from the station takes you away.
Ends with a soft martial drum rhythm, which is kind of weird. This is the one song on the album that sounds like the band actually showed an active interest in the message, whatever that message is.
I get the impression this one has something to do with wars and stuff like that. There's definitely a mention of governments, and ships in the mist, and men dressed in black. Moran is really slurring his words by now, but the Mellotrons are pretty active and they make the song interesting at least. This one probably makes more sense to people who understand Greek mythology and its symbolism and all that. By the time "Inside Out" rolls around, I can't understand anything Moran is singing anymore.
The keyboards here sound more organ-like, and the drums are a bit more prevalent than elsewhere on the album, plus there's an interlude of what I assume is a Mellotron that sounds like a xylophone. Then again, maybe it's a xylophone. This is clearly intended to be a sad song, as evidenced by the slow tempo and sad-sounded gargling Moran does in lieu of actual singing.
It's a nice tune on the piano, though this probably would have been better as a purely instrumental song. I can't help but wonder if Michael Stipe found some inspiration in Pat Moran's vocal stylings when he recorded the first couple of R. That would make sense. The original album closed with "Gazing", which is marked by the absence of Moran's voice for nearly the first minute and a half.
He seems to have cleansed his palette, as his articulation is somewhat better here, but I can still only make out about every fourth word. Something about turning pages, and taking paths, and deep sleep. Lots more Mellotron on this one, and also Martinez' guitar really starts to grow on you by now, kind of bluesy and also a bit improvisational at times.
The 'bonus' tracks on the CD are apparently from the aforementioned unreleased recordings. Moran sounds a lot like the guy in Amazing Blondel on these, but is still largely inarticulate. I'm spending a lot of time making fun of the guy's voice, but I have to admit it kind of grows on you if you think of it as another musical instrument in the band, and not as an actual human voice. The bonus tracks all feature some pretty good organ work as well.
This is also apparently the longest song the band ever recorded, clocking in at over seven minutes. The album closes with "A Word Full of Whispers", and it finds Moran at his most coherent, but also his most off-key. The chorus goes "today I turned on a friend, tomorrow I might choose my end", which seems both very hippy-like and also a bit disturbing. There's also a reference to Zachary Smith lying dead in the snow. I wonder if this is Dr. Zachary Smith, the oddball scientist of "Lost in Space" television show fame.
Probably not. So, I've worked over the infamous Spring prog-gem. All in all it was an interesting and not altogether unpleasant experience. I've been playing this CD every few days or so, mostly so I could work up enough material for a review. It'll probably fade to the middle or back of my collection now that I've written this, but I would imagine it will get pulled out and played Album) time to time.
I wouldn't call this one an essential collectible, but it doesn't flat out suck either. Three stars seems appropriate. Spring have become semi-legendary in the Prog world and their only album something of a lost Mellotron classic, but that is to ignore the other elements: like Argent and BJH, they used a strong twin attack of keyboards - organ, piano and a little synth in addition to the Mellotron - and guitars, backed by a busy but robust rhythm section.
The similarity also extends to songwriting based on formulaic verse-chorus song structures with extended middle-8 instrumental breaks and mood swings, but little in the way of complex time signatures.
The album doesn't appear to contain a single concept as such, but a number of common themes abound: life, loss, desolation, despair, death, war, mental anguish, all tied together with classical references and some nice little lyrical nuggets. Incidentally, my Repertoire CD issue contains printed lyrics to the original songs but not the 3 bonus tracks.
While there are no obvious virtuosi here, the instrumental playing is perfectly adequate, but it has to be said the singer is an acquired taste - his diction is poor and he really doesn't have a Prog voice whatever that is! He would undoubtedly have been more at home in a punk orientated atmosphere. The album opens, aptly enough, with the sound of the Mellotron, and indeed The Prisoner Eight By Ten is drenched in it. This is a mid paced tune, driven by some nice bass patterns overlaid by a variety of Mellotrons and a couple of synth solos, and introduces the first sign of a military style percussion.
It has a swinging 60s vibe to it reminiscent of The Doors, probably due to the lack of any guitars. I was always struck by the rhyming couplet of 'centuries' with 'penitentiaries'! Grail is a more restrained slower paced ballad with some tasteful piano and guitar trills and fills added to muted Mellotron, lifted by a repeated chorus and a very BJH-like instrumental break with a heavier sounding 5-note ascending pattern of treated bass and Tron.
Boats "sitting and watching the boats on a river" and Shipwrecked Sailor "in the end my only friend was a dead man dressed in black" are a merged pair and are referenced by the cover picture of a dead soldier bleeding into a river while the band look on from the opposite bank. Boats is a simple song with a pleasant tune sung to strummed acoustic guitars and some electric noodling. Shipwrecked Sailor returns to the marching drum theme overlaid with Mellotron, building up to an up tempo, almost funky, guitar and organ based track which sounds like a forerunner of the style of the 3 bonus tracks.
Different moods are evoked by a series of very Prog sections in the middle-8, but it is all underpinned by the military drums and some very meaty bass guitar which ends with a final dive-bomber-air-raid crescendo from the keyboards. The Golden Fleece is another major mid-paced song, though not the most memorable of tunes, seemingly about a man's search for the unattainable "between the walls of dark despair where fountains weep and gargoyles stare".
It is led by acoustic guitars, Mellotron and organ with a dramatic Mellotron pattern at the end of verses where a lead guitar would normally be, while a darker mood of the middle-8 includes excellent solos by firstly electric guitar then organ over a bass riff, all topped off by a dreamy ending. Similarly paced, though perhaps a little more rockist, is Inside Out, which seems to be offering advice to a wayward friend. Led by guitars and organ, there is a nice change of mood in the middle-8 with the introduction of Mellotron flutes, and an excellent build to an organ-led crescendo at the end.
The singer's shortcomings are somewhat exposed here! The final track of the original album, Gazing could have been a classic BJH song, bursting forth with a lengthy Mellotron based instrumental opening leading to a pastoral W.N.G.I.
- Underground Society - Dreadful Days (CD song about life - "pages we will turn, taking steps to learn of the paths to take when we do awake". Mellotron and organ are to the fore, but so is the electric guitar which has an excellent multi-tracked solo. The 3 bonus tracks are recordings made for a second studio album which was never released.
They have a different feel about them, in part due to abandoning the Mellotron, but also their playing and songwriting is a little more accomplished and assured, and their sound is more robust. Fool's Gold opens with acoustic guitars before erupting into the full band with a prominent electric guitar.
It also has an extended middle-8 with some aggressive guitar riffing and guitar and organ solos. It is more up tempo and more adventurously Prog structured, but it is not the most memorable of tunes and it could really do with a more charismatic singer, but there is an unexpected change of pace towards the end.
A Word Full Of Whispers closes the album on a high, with acoustic guitars and organ driven by a wonderful up tempo chugging rhythm. We also believe in social justice, and often use our label platform to organize benefit releases for struggling or marginalized communities around the world. We even started a "church" to help struggling musicians. The Ophelias Crocus. Springtime Springtime. Deerhoof Actually, You Can. Cedric Noel Hang Time. Tropical Fuck Storm Deep States.
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