Silvertone Jubilee Quartette, Seven Stars Quartette - Columbia S C Gospel 1938: Silvertone Jubilee Quartette, Seven Stars Quartette, Eagle Jubilee Four In Chronological Order

Published Monday 10th November 2008
Silvertone Jubilee Quartette, Seven Stars Quartette - Columbia S C Gospel 1938: Silvertone Jubilee Quartette, Seven Stars Quartette, Eagle Jubilee Four In Chronological Order
Silvertone Jubilee Quartette, Seven Stars Quartette - Columbia S C Gospel 1938: Silvertone Jubilee Quartette, Seven Stars Quartette, Eagle Jubilee Four In Chronological Order

STYLE: Gospel
RATING 9 9 9 9 9 9 9 9 9
OUR PRODUCT CODE: 21320-12077
LABEL: Document DOCD5487
FORMAT: CD Album
ITEMS: 1
RRP: £9.99

Reviewed by Lins Honeyman

This compilation contains the complete issued works of three obscure a cappella quartets from Columbia, South Carolina recorded in 1938. Little is known about these groups except that they were influenced by more well known vocal outfits like the Golden Gates and the Heavenly Gospel Singers. Nonetheless, their work is valid in its own right and, despite the close proximity within which they operated, their styles are noticeably different. The slick manner of the Silvertone Jubilee Quartette is reflected in stunning versions of "The Old Rugged Cross" and the Blind Willie Johnson number "Ain't Nobody's Fault But Mine" - complete with some fantastic Golden Gates mouth trumpet. Next up are the Eagle Jubilee Four whose style leans more towards the gospel end of the spectrum with songs such as "On Calvary's Mountain" and "May Be The Last Time" (a direct ancestor of the Rolling Stones' "The Last Time") containing the general vocal abandonment typical of the genre. Lastly, the Seven Stars Quartette expertly copy songs by the Heavenly Gospel Singers under different titles. As a result, the Heavenlys' more well known "John Wrote The Revelation" becomes "God Called John" and so forth. Given the talent contained within these timeless recordings, it is surprising that the groups involved remained anonymous, making this snapshot of musical history all the more worthwhile and valuable.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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