Swan Silvertones Greatest Hits - The Swan Silvertones | Songs, Reviews, Credits | AllMusic
The Swan Silvertones discography and songs: Music profile for The Swan Silvertones, formed Albums include The Big Easy, Atomic Platters: Cold War Music From the Golden Age of Homeland Security, and Great Camp Meeting I Cried Holy/Will the Circle Be Unbroken/I Done Made It Up in My Mind /I'm Tired. The journey that Aretha takes us on this song is one in which she wraps her arms . Listen carefully to the Swan Silvertones' classic version of "Mary Don't You When Jesus arrives at their house, he meets with both sisters. "buil[d] voice upon voice until they found it, and when they did it was a wave of. The Swan Silvertones Gospel group For the Record He has been cited as a vocal and lyrical influence on Sam Cooke, Al Green, Eddie Kendricks, Curtis Mayfield, and Paul Simon. . The group stayed on the King label until and made approximately recordings. . Great Camp Meeting, Frank Music,
When I got about fourteen, I was still singing in the choir, but me and two or three other boys had a little group. Jeter managed to finish high school, where he sang in the choir, but went to work in the nearby West Virginia coal mines when he was still in his teens.
While living in Coalwood, West VirginiainJeter decided to form a gospel quartet to provide some diversion from the hard work of coal mining.
The Swan Silvertones
With his brother and two other miners, Jeter formed the Four Harmony Kings and within a few months started appearing at weekend gospel gatherings in West Virginia and neighboring Kentucky, Virginia, and North Carolina. The group initially sang a cappella unaccompanied ; Jeter, a high tenor, took most of the leads. The AM station could be heard as far away as Floridaand the regular spot, sponsored by the local Swan Bakery, gave the group some financial stability.
Between and the Swan Silvertones built a reputation as one of the best gospel groups in the South. I used to love to hear them sing.
Myles as baritone, and Henry K. It was this lineup that entered a recording studio in under contract to King Records. The group stayed on the King label until and made approximately recordings.
The Swan Silvertones moved to Pittsburgh in and in signed with Specialty Records for two years. In poor health, Womack left the group; Robert Crenshaw, who became an ordained minister, also left the group because he disagreed with the direction the music was taking.
Gospel Favorites by The Swan Silvertones on Apple Music
Only four of its recordings were released by Specialty from toalthough a compilation, Heavenly Light, was later issued by the label. The Swan Silvertones signed with Vee-Jay Records in ; by that time, the group had developed a sound much like the popular doo wop groups of the day. People liked it, and we had to do it. He also had numerous opportunities to perform secular music, as he later told the New York Times: I got offered good money. I promised my mother I would never sing nothing but for the Lord.
Aretha's Bridge: One Song That Carries The Weight Of Gospel And Soul History : NPR
He also released one album as a solo artist, Yesterday and Today, for the Shanachie label in After his departure, Louis Johnson led the Swan Silvertones, which continued to release original albums through the s. Jeter occasionally reunited with his colleagues for special Swan Silvertones reunion concerts through the s. Heavenly Light, Specialty, ; reissued, Fantasy Jazz, The Swan Silvertones, Vee-Jay, Swan Silvertones, Vee-Jay, Before raising their brother to new life, he instructs Martha to draw on hope and faith.
To Mary he offers added counsel and addresses her tears: Tell Martha not to moan. As Aaron Cohen points out in his book on Aretha's Amazing Grace, the version that would seemingly have the most overt impact on her is the recording by The Caravansthe phenomenally influential gospel group of the '50s and '60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: But the Swan Silvertones' version from is the only one that features the marvelous lead singer Claude Jeter's forthright interpolation: Sings Jeter, "Pharoah's Army got drowned in the sea, but Jesus said Mary, your little sister Martha don't have to moan Now can I get a witness.
In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls. With their faith tested, as the tale goes, the "people grumbled against Moses, saying, 'What are we to drink?
DeMille special effects from the Ten Commandments film because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh's army, turning bitter water into the sweetest of drink. Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst: Miriam sang to them: The horse and its rider he has hurled into the sea.
With a "joyful noise," their voices reanimate the "rock on which Moses stood" to "lead the Hebrew children through.
And it's she who can hear Miriam and the women's truth as well as they amplify it, sustain it, make it manifest using "the right combination, the key, the code As Cohen reminds, it is Inez Andrews' "bluesy vamp and original sermonette about Lazarus rising from the tune" in The Caravans' version of "Mary Don't You Weep" that Aretha would potently bring to life during the historic Grace recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts.
In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On "Mary," Aretha follows the road that she'd set for herself on a bridge and carries the congregation through the storm. YouTube This is paradigmatic soul at the apex of masterful storytelling.
Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line "take it to the bridge" — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin's Amazing Grace as well.
We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith.
We hear her responding to the call made by Miriam, summoning those old school Biblical women's sonic circuits of energy, and channeling and translating Inez and Paul and Claude.