Kate Campbell - For The Living Of These Days

Click any song to listen.

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  2. If I Ever Get To Heaven -:-- / -:--
  3. Without Him -:-- / -:--
  4. Be Thou My Vision -:-- / -:--
  5. Prayer Of Thomas Merton -:-- / -:--
  6. God Of Grace And God Of Glory -:-- / -:--
  7. Dark Night Of The Soul -:-- / -:--
  8. When I Let Jesus Take My Hand -:-- / -:--
  9. Terrible Mercy -:-- / -:--
  10. Would They Love Him Down In Shreveport -:-- / -:--
  11. There’s A Wideness In God’s Mercy -:-- / -:--
  12. They Killed Him -:-- / -:--
  13. Faces In The Water -:-- / -:--
  14. There Is A Balm In Gilead -:-- / -:--

For The Living Of These Days

Artist
Kate Campbell
Released
2006
Genre
Singer-Songwriter

Release Date: September 5, 2006

For the Living of These Days was recorded at Fame Studios in Muscle Shoals, Alabama and features the legendary Spooner Oldham on Organ, Piano, and Wurlitzer.

Includes songs written by Kate and her favorite Muscle Shoals collaborators as well as songs by Woody Guthrie and Kris Kristofferson. Also features “Prayer of Thomas Merton” which Kate set to music. The CD cover art is by Mary McCleary.

“A sure-fire masterpiece!”” – LIRA, Swedish Music Magazine

From the Original CD Liner Notes by Hunter Kelly

For the Living of These Days finds Kate Campbell returning to the rich, deep wells that have sustained her musical journey since 1995’s Songs from the Levee. That debut album introduced her as an artist tapped into the Southern literary bloodline of Flannery O’Connor and William Faulkner. An abiding fascination with storytelling, race, religion, history and the day-to-day happenings of people’s lives continue to fuel Kate’s creative pursuits on this collection. Similarly, an ongoing love affair with the musical traditions and folkways of her native South led her to once again record at the hallowed Fame Studios in Muscle Shoals, Alabama and choose the legendary Spooner Oldham as her musical partner for the project.

SPOONER

Kate’s relationship with Spooner goes back to the 1960s when she became fascinated with the sounds emanating from Muscle Shoals on tunes such as Percy Sledge’s “When A Man Loves a Woman” and Aretha Franklin’s “I Never Loved a Man (The Way That I Loved You)” – which are but two examples of Spooner’s vital contributions to American music. He would go on to record and perform with some of music’s most celebrated artists, including idiosyncratic icons Bob Dylan and Neil Young, before meeting Kate in 1995 during a chance encounter at the office of Fame Publishing in Muscle Shoals. After opening a few shows for Spooner and his longtime writing partner Dan Penn, Kate invited Spooner to play organ on her 1997 release Moonpie Dreams. He’s appeared on nearly every one of Kate’s albums since, including 1998’s Visions of Plenty, 1999’s Rosaryville, 2001’s Wandering Strange and 2003’s Monuments, providing a direct link to the Southern soul Kate counts as a primary source in her music.

VISION

As with most of her albums, Kate spent several years thinking about what approach to take with the project that would become For the Living of These Days. People kept asking her for another album similar to 2001’s Wandering Strange, which found Kate recasting the hymns she’d grown up singing in the Baptist church in her favorite musical style: ‘60s soul with a heavy dose of the Muscle Shoals sound. Still, she wasn’t quite sure how to go about doing a second gospel album until someone gave her a copy of Mavis Staples and Lucky Peterson’s 1996 album Spirituals and Gospels: Dedicated to Mahalia Jackson – which takes a bare bones approach to Mahalia’s tunes with just Staples on vocals and Peterson on Hammond B-3 organ and piano. Kate’s thoughts quickly turned to Spooner as an ideal musical partner for a similar project because of his easy going nature and his willingness to take chances and capture the moment in the studio. With 2005’s Blues and Lamentations, Kate had used a minimal number of musicians and begun capturing more moments live in the studio, but For the Living of These Days would turn out to be her most in-the-moment recording to date with many of the performances recorded in just one take.

SONGS

When choosing the songs for the album, Kate returned once again to her favorite source materials: her parents’ small but vital record collection, the Baptist hymnal, classic folk, soul and country music, and the pens of Alabama’s finest songwriters. As a child, Kate was raised on the gospel records of Mahalia Jackson, Pearl Bailey and Elvis Presley, where she first heard “There is a Balm in Gilead” and Mylon LeFevre’s tune “Without Him.” These songs, along with “God of Grace and God of Glory” and “There’s a Wideness in God’s Mercy” appeared in the Baptist hymnal Kate would read through in church when she got bored with the sermon. Hymns became an essential part of her musical DNA, and Kate returned to the hymnbook for inspiration while in college and, later, as she embarked on her music career.

Through the years, Kate has continued her own spiritual journey and found herself drawn to the life of Christ and what he said about how human beings treat one another, also referred to as the Social Gospel. This idea is established as a theme of For the Living of These Days with Woody Guthrie’s “Jesus Christ” chosen as the album’s opening tune. The idea of Jesus’ teachings in the present day is established as a foundational element to the album with Guthrie asserting that Jesus Christ’s message would end with the same result if he were to preach it to the citizens of New York City circa 1940. The same idea reappears later in the album with Kris Kristofferson’s “They Killed Him,” which name checks 20th century peacemakers Mahatma Gandhi and Martin Luther King, Jr. alongside Jesus Christ as leaders and teachers whose messages got them killed. In a similar vein, Bobby Braddock’s “Would They Love Him Down in Shreveport” presents the idea of Jesus Christ making wine from water and hanging out with prostitutes and thieves in modern day America and the possible reactions of stunned churchgoers if he were to take such actions in their backyards. The idea of denying pivotal events such as the Holocaust and Trail of Tears is also addressed in Kate’s own tune “Terrible Mercy,” – co-written with yet another Alabamian, Mark Narmore. Though “Terrible Mercy” points out the quite popular “solution” of just turning a blind eye to the world’s problems, the chorus of this song points to a very present remedy — mercy.

In fact, the harsh realities faced throughout the album are tempered with a heavy dose of mercy beginning with the second song, “If I Ever Get to Heaven,” which Spooner and Kate co-wrote as a musing upon what the hereafter might actually be like. These remembrances of mercy continue with the inclusion of hymns such as “God of Grace and God of Glory,” “There’s a Wideness in God’s Mercy,” the Celtic strains of “Be Thou My Vision,” and another original tune “Dark Night of the Soul,” which Kate wrote with long-time collaborator and Alabama native Walt Aldridge. Inspired by the writings of the 16th century Spanish mystic Saint John of the Cross, “Dark Night of The Soul” is followed by the Southern Gospel-steeped “When I Let Jesus Take My Hand,” another original song written by Spooner and his wife Karen while driving home to Muscle Shoals in the midst of a dense fog. Though they use two different styles of language, Kate feels both “When I Let Jesus Take My Hand” and “Dark Night of the Soul” convey the same topic of letting go and allowing a higher power to guide though difficult times. This guiding mercy is also evident in “The Prayer of Thomas Merton,” which is an actual prayer taken from the Trappist monk’s 1958 book Thoughts in Solitude. Both Kate and her husband, Ira, were drawn to the prayer for its portrayal of the uncertainties involved in daily living and the assurance of God’s faithfulness. One day earlier this year, both Kate and Ira separately had the same idea that she should put the prayer to music, which all but sealed its appearance on For the Living of These Days.

Perhaps the most arresting pictures of mercy and hope on the album are reserved for the two closing tracks beginning with “Faces in the Water.” Written by native Alabamian Dr. Greg McPherson, the song refers to the recently erected Civil Rights memorial in Montgomery, Alabama honoring those who gave their lives, both literally and figuratively, for racial equality and peace. The album’s closing hymn “There is a Balm in Gilead,” speaks as both an assurance of rest after this life and a comfort to those still battling with a “sin sick” soul here on earth. Kate was drawn to the sense of healing and hope heard in the song…that one day all will be made right and the chains that bind on earth will be broken.

As with any Kate Campbell album, repeated listening to For the Living of These Days is strongly suggested since the songs tend to take on deeper or different meanings over time – even for Kate herself. After the last note has faded on this album, Kate hopes the listener will have come to a wider understanding of both the genius of Spooner Oldham and the messages conveyed in these songs and the lives that inspired them….may they offer guidance, encouragement, and hope for the living of these days.

Hunter Kelly
March 2006

1. Jesus Christ

Jesus Christ was a man who traveled through the land
A hard working man and brave
He said to the rich give your goods to the poor
But they laid Jesus Christ in his grave

Jesus was a man a carpenter by hand
His followers true and brave
One dirty little coward called Judas Iscariot
Has laid Jesus Christ in his grave

He went to the preacher he went to the sheriff
He told them all the same
Sell all of your jewelry and give it to the poor
But they laid Jesus Christ in his grave

When Jesus come to town all the working folks around
Believed what he did say
The bankers and the preachers they nailed him on a cross
Then they laid Jesus Christ in his grave

The poor working people they followed him around
They sung and they shouted gay
The cops and the soldiers they nailed him in the air
And they laid Jesus Christ in his grave

Well the people held their breath when they heard about his death
And everybody wondered why
It was the landlord and the soldiers that he hired
To nail Jesus Christ in the sky

This song was written in New York City
Of rich man, preacher and slave
But if Jesus was to preach like he preached in Galilee
They would lay Jesus Christ in his grave

By Woody Guthrie
© Cromwell Music Inc. OBO Ludlow Music Inc. (BMI)
Kate: Guitar, Vocal

2. If I Ever Get To Heaven

If I ever get to heaven
Don’t know what I’ll find
Maybe streets of gold
Maybe peace of mind
Will there be water
Will there be wine
Milk and honey
On the other side

If I ever get to heaven
Don’t know who I’ll see
Maybe some old friends
Or family
Will you all be there
Waiting for me
Singing a song
About being free

I’m not thinking about leaving right now
Sometimes I wonder where I’m bound
There’s no place like heaven I’m told
Wherever it is you know I want to go

If I ever get to heaven
Don’t know who I’ll meet
Maybe kings and queens
Or beggars and thieves
Will there be lost souls
Who made their way home
Kind of like you
Kind of like me

By Kate Campbell & Spooner Oldham
© Large River Music (BMI)
SpoonRox Music (ASCAP)
Kate: Vocal
Spooner: Piano, Vocal

3. Without Him

Without him I could do nothing
Without him I’d surely fail
Without him I would be drifting
Like a ship without a sail

Without him I would be dying
Without him I’d be enslaved
Without him life would be hopeless
But with Jesus, thank God I’m saved

Jesus, oh Jesus
Do you know him today
Please don’t turn him away
Oh Jesus, my Jesus

Without him how lost I would be
Without him how lost I would be

By Mylon LeFevre
© Angel Band Music (BMI)
Kate: Vocal
Spooner: Wurlitzer Electric Piano

4. Be Thou My Vision

Be Thou my Vision, O Lord of my heart
Naught be all else to me, save that Thou art
Thou my best thought, by day or by night
Waking or sleeping, Thy presence my light

Be Thou my Wisdom, and Thou my true Word
I ever with Thee and Thou with me, Lord
Thou my Redeemer, my love Thou hast won
Thou in me dwelling, and I with Thee one

Riches I heed not, nor vain empty praise
Thou mine Inheritance, now and always
Thou and Thou only, first in my heart
Great God of Heaven, my Treasure Thou art

Traditional Irish Song
Kate: Vocal
Spooner: Hammond B3 Organ

5. Prayer Of Thomas Merton

My Lord God, I have no idea where I am going
I do not see the road ahead of me
I cannot know for certain where it will end
Nor do I really know myself
And the fact that I think that I am following your will
Does not mean that I am actually doing so
But I believe that the desire to please you
Does in fact please you
And I hope I have that desire in all that I am doing
I hope that I will never do anything apart from that desire
And I know that if I do this
You will lead me by the right road
Though I may know nothing about it
Therefore will I trust you always
Though I may seem to be lost and in the shadow of death
I will not fear for you are ever with me
And you will never leave me to face my perils alone

Words by Thomas Merton, Thoughts in Solitude
© 1958 Abbey of Gethsemani
Permission granted by the Merton Legacy Trust
Music by Kate Campbell
© 2006 Large River Music (BMI)
Kate: Piano, Vocal

6. God Of Grace And God Of Glory

God of grace and God of glory
On Thy people pour Thy power
Crown Thine ancient church’s story
Bring her bud to glorious flower
Grant us wisdom, grant us courage
For the facing of this hour
For the facing of this hour

Lo! The hosts of evil ’round us
Scorn Thy Christ, assail His ways
From the fears that long have bound us
Free our hearts to faith and praise
Grant us wisdom, grant us courage
For the living of these days
For the living of these days

Cure Thy children’s warring madness
Bend our pride to Thy control
Shame our wanton selfish gladness
Rich in things and poor in soul
Grant us wisdom, grant us courage
Lest we miss Thy kingdom’s goal
Lest we miss Thy kingdom’s goal

Save us from weak resignation
To the evils we deplore
Let the gift of Thy salvation
Be our glory evermore
Grant us wisdom, grant us courage
Serving Thee Whom we adore
Serving Thee Whom we adore

Grant us wisdom, grant us courage
For the living of these days
For the living of these days

Words by Harry Emerson Fosdick
Music by John Hughes
Kate: Piano, Guitar, Vocal
Spooner: Hammond B3 Organ, Wurlitzer Electric Piano

7. Dark Night Of The Soul

You can pray with all your might
Till your knuckles all turn white
You can look the other way
Hope it’s gone with each new day

You can do your best to hide
You can hold it all inside
You can curse and shake your fist
You can ask why God why this

There is peace somewhere I’m told
There’s a fire out in the cold
There are wonders to behold
In the dark night of the soul

You can give in to your doubts
Try to figure it all out
You can fight the fight alone
Do your best to drink it gone

There is peace somewhere I’m told
There’s a fire out in the cold
There are wonders to behold
In the dark night of the soul

Trust your spirit to be your guide
You’ll come out on the other side

In the absence of the light
Let the shadows hold you tight
You can let your fear and pain
Wash over you like rain

There is peace somewhere I’m told
There’s a fire out in the cold
There are wonders to behold
In the dark night of the soul
In the dark night of the soul

By Kate Campbell & Walt Aldridge
© Large River Music (BMI)
Cross Key Publishing Co. Inc./Waltz Time Music Inc. (ASCAP)
Kate: Piano, Vocal
Spooner: Hammond B3 Organ

8. When I Let Jesus Take My Hand

Sometimes when I’m alone and my heart is troubled
And life seems too big to understand
A song of peace is sent down from heaven
When I let Jesus take my hand

He walks and talks with me whenever I’m lonely
And he tells me of a promised land
Then the still waters flow way down in my soul
When I let Jesus take my hand

Oh sweet serenity
When he touched me
And made me whole

Whenever I’m in need and problems surround me
And life seems too filled with demands
A ray of sunshine is sent down to guide me
When I let Jesus take my hand

Then the still waters flow way down in my soul
When I let Jesus take my hand
When I let Jesus take my hand

By Spooner & Karen Oldham
© SpoonRox Music (ASCAP)
Kate: Vocal
Spooner: Piano, Vocal

9. Terrible Mercy

I hear some people say
There’s no burning cross
No holocaust
And we are not to blame
No trail of tears
No fallout here
No coming judgment day

I hear some people shout
There’s no poverty
No undeserved disease
And no body counts
No toxic waste
No ozone rays
No sermon on the mount

Oh for ears to hear
And eyes to see
Terrible mercy
Terrible mercy
Lord I believe
Help my unbelief

I hear some people cry
There’s no corporate greed
No slavery
And no one is denied
No justice due
No need for truth
No cross on which to die

I heard someone say
Blessed are they
Who walk in peace
For goodness sake
Great is their reward

By Kate Campbell & Mark Narmore
© 2006 Large River Music (BMI)
Caketaker Music/Sony ATV Tree Music (BMI)
Kate: Piano, Vocal
Spooner: Hammond B3 Organ

10. Would They Love Him Down In Shreveport

If they saw him riding in
Long hair flying in the wind
Would they love him down in Shreveport today

If they heard he was a Jew
And a Palestinian too
Would they love him down in Nashville today

If they saw him talk with ease
To the junkies, whores, and thieves
Would they love him out in Wichita today

Would the rich men think it funny
If he said give up your money
Would they love him up on Wall Street today

If he made the wine from water
Gave it to their sons and daughters
What would the folks in Salt Lake City say

If he talked of brotherhood
As he walked their neighborhoods
Would they love him up in Boston today

If he said love those who use you
And forgive those who abuse you
If he turned the other cheek what would you say

Would you laugh and call him crazy
And send him on his way
If he walked right into your town today

By Bobby Braddock
© Sony/ATV Tree Publishing (BMI)
Kate: Vocal
Spooner: Hammond B3 Organ, Wurlitzer Electric Piano

11. There’s A Wideness In God’s Mercy

There’s a wideness in God’s mercy
Like the wideness of the sea
There’s a kindness in his justice
Which is more than liberty

But we make His love too narrow
By false limits of our own
And we magnify His strictness
With a zeal He will not own

For the love of God is broader
Than the measure of our mind
And the heart of the Eternal
Is most wonderfully kind

There’s a wideness in God’s mercy
Like the wideness of the sea

Words by Frederick W. Faber
Dutch Folktune
Kate: Piano, Vocal

12. They Killed Him

There was a man named Mahatma Gandhi
He would not bow down, he would not fight
He knew the deal was a-down and dirty
And nothing wrong could make it right away
But he knew his duty and the price he had to pay
Just another holy man who dared to be a friend
My God, they killed him

Another man from Atlanta, Georgia
Name of Martin Luther King
He shook the land like a rolling thunder
And made the bells of freedom ring today
With a dream of beauty that they could not take away
Just another holy man who dared to make a stand
My God, they killed him

The only Son of God Almighty
The holy one called Jesus Christ
He healed the sick and he fed the hungry
And for his love they took his life away
On the road to glory where the story never ends
Just the holy Son of Man I’ll never understand
My God, they killed him

There was a man named Mahatma Gandhi
A man named Martin Luther King
The only Son of God Almighty
The holy one called Jesus Christ
On the road to glory where the story never ends
Just the holy Son of Man I’ll never understand
My God, they killed him
My God, they killed him
My God, they killed him

By Kris Kristofferson
© Jody Ray Publishing Co. (BMI)
Kate: Piano, Vocal
Spooner: Hammond B3 Organ

13. Faces In The Water
(Civil Rights Memorial Song)

I see faces in the water of a time not gone by
I see places in the water where so many souls won’t die
I hear babies and their mothers
Crying Lord, oh lord why
I hear wailing for their brothers
And their fathers without life
From the faces in the water
Brightly shines through freedom’s cry

I see faces in the water of new life that answers why
Through those faces in the water
We can feel a change draw nigh
You can see the clouds are moving
Giving way to the light
People everywhere are saying
Now’s the time for love to shine
From the faces in the water
Came a better world we can’t deny

You can see the clouds are moving
Giving way to the light
People everywhere are saying
Now’s the time for love to shine
From the faces in the water
Came a better world we can’t deny

By Dr. Greg McPherson
© 2005 Southern Poverty Law Center
Kate: Vocal
Spooner: Wurlitzer Electric Piano

14. There Is A Balm In Gilead

There is a balm in Gilead
To make the wounded whole
There is a balm in Gilead
To save the sin sick soul

Some times I feel discouraged
And I feel like I can’t go on
Oh but then the Holy Spirit
Revives my soul again

There is a balm in Gilead
To make the wounded whole
There is a balm in Gilead
To save the sin sick soul

Traditional African-American Spiritual
Kate: Vocal
Spooner: Piano

With a voice as sublimely majestic as a peach tree swaying in incessant summer heat, Kate Campbell delivers an album that testifies to God’s love with tenderness, wonder and power. You might recognize Oldham—who plays a rich array of keyboards here, including Hammond B-3 and Wurlitzer electric piano—as one of the legendary Muscle Shoals musicians. (“Days” was recorded at Fame Studios, home of the Muscle Shoals sound.) Teaming without a backing band, Campbell and Oldham conjure an alchemy that’s palpable and thick as a Faulkner narrative; the hymn “God of Grace and God of Glory” gets an unexpected jolt from a minor-key turn, while Myron LeFevre’s “Without Him” weds Oldham’s Wurlitzer and Campbell’s dusky singing into a gospel lullaby. Also welcome here: Campbell’s call for tolerance on songs such as “Terrible Mercy” and “Would They Love Him Down In Shreveport.”

– Louis R. Cardozo, Chicago Tribune 

Emmylou Harris once sweetly grumbled that “the living room has gone out of the music.” She meant that Nashville had moved from homemade country music to a high-tech studio sound that eliminated mistakes but also emotion and spontaneity. Kate Campbell’s For the Living of These Days is living room music. You get the feeling – in this case, a good feeling – that Ms. Campbell is on the other end of the sofa, pouring out songs of faith. She and music partner Spooner Oldham confine themselves to guitar, piano, electric piano and Hammond B-3 organ. Some selections were done in one take. The CD contains a mix of hymns and contemporary songs that no commercially minded producer would indulge. Woody Guthrie is represented by the rather angry “Jesus Christ,” and Kris Kristofferson with the angrier “They Killed Him.” Both bear witness to the danger of living out Jesus’ message fully. With a low, rangy voice, Ms. Campbell does wonderful renditions of gospel tunes, including Mylon LeFevre’s “Without Him.” She’s strong on the hymns, such as “God of Grace and God of Glory.” Her riskiest effort – one with great emotional payoff – is to set to music a prayer of Thomas Merton. That tune, like the entire CD, offers a grownup faith, encompassing doubts and hard times.

– Sam Hodges, Dallas Morning News

Singer Kate Campbell is known primarily as a literate storyteller with a strong base in Southern folk music. This, her 10th CD, isn’t her first gospel disc. 2001’s Wandering Strange reached back into the hymns she grew up on as a Baptist preacher’s daughter in Louisiana; on it, her soprano voice is backed by a country-pop band, and the drums provide a lot of the kick.Here, she has stripped down her sound to her acoustic guitar and longtime musical partner Spooner Oldham’s piano and organ. Her fuller, deeper voice sounds at times like it could come straight out of a Wednesday-night prayer service. About half the disc is taken up with social gospel songs, leading off with Woody Guthrie’s Jesus Christ. Here, Campbell’s warm voice takes on a talkish tone that turns to a genuine wonder and anger at Christ’s death. The strongest of these songs is Terrible Mercy, with a strong but halting piano surrounding Campbell’s tremulous voice, which holds a sense of mercy’s promise. The disc’s other half is made up of songs of praise, which Campbell delivers in a brave voice with a quiet, soulful, bluesy feel. In God of Grace and God of Glory, her voice begins almost whisperlike and builds to its fullest in front of Oldham’s bassy organ. It carries a wearied joy that feels like it would fill a church into the next days. GRADE: A-

– Arthur Paine, Ft. Worth Star-Telegram

I don’t know what to call this album. Labels like Southern gospel, contemporary Christian, singer-songwriter all fit but ultimately fail to really describe the music. Just call it great. It combines two of the most talented lights of Southern music, Kate Campbell and Spooner Oldham, in a deeply moving, religious-themed program. They perform songs ranging from an eighth-century Irish hymn, “Be Thou My Vision”, to wryly contemporary pieces like “Would They Love Him Down in Shreveport?” Best of all, the album has a strong Alabama flavor. It was recorded at Fame Studios in Muscle Shoals, where Oldham is something of a living legend. He and his partner, Dan Penn, wrote some of the world’s greatest soul songs — pieces like “I’m Your Puppet,” “Dark End of the Street” and “Do Right Woman, Do Right Man” — and worked with the seminal artists who made them hits. Campbell, born in New Orleans and raised in Nashville, has an Alabama background as well, dating to her days as a student at Samford and Auburn. The new album not only showcases Campbell and Oldham as songwriters, collaboratively and individually, but it also focuses on the work of Walt Aldridge, an Alabama native and longtime Campbell songwriting partner; Mark Narmore, an Alabamian who has written songs for Shenandoah, Blackhawk and John Michael Montgomery; and Dr. Greg McPherson, another Alabama native whose “Faces in the Water” is a beautifully evocative song about the Civil Rights Memorial in Montgomery. This is not Campbell’s first religious recording. In 2001, her album “Wandering Strange” celebrated her Baptist musical roots. Oldham, too, has made his mark in the field, most notably as a studio sideman and road band member for Bob Dylan’s gospel era. His organ and piano work has graced many of Campbell’s projects over the years as well. Campbell says the inspiration for For the Living of These Days came from a 1996 collaboration of singer Mavis Staples and blues keyboard man Lucky Peterson. Their Spirituals and Gospels: Dedicated to Mahalia took a stripped-down approach that appealed to Campbell. The inspiration for the individual songs, however, came from far and wide. The album opens with Campbell on solo acoustic guitar singing Woody Guthrie’s “Jesus Christ.” Set to the tune of the traditional ballad “Jesse James,” it envisions how Jesus would be received if he returned to New York in the 1940s. The idea is updated in Bobby Braddock’s “Would They Love Him in Shreveport?” Made famous by George Jones, the song poses the question of how a wine-drinking Palestinian Jew who chose to consort with sinners and low-lifes would be viewed in 20th-century America:

“Would the rich men think it funny
If He said give up your money?
Would they love Him up on Wall Street today?”

“Prayer of Thomas Merton,” written by the celebrated Trappist priest/monk, is a gorgeous performance, sung with deep feeling by Campbell to Oldham’s understated organ accompaniment. The melody will be familiar to most Southern churchgoers, as will Harry Emerson Fosdick’s 1930 “God of Grace and God of Glory,” which we used to hear around Thanksgiving. The title of Campbell’s new album is drawn from Emerson’s 1956 biography. Oldham and Campbell wrote some of the album’s most effective music. A drive home through a thick fog in the Tennessee Valley inspired Oldham and his wife, Karen, to compose “When I Let Jesus Take My Hand.” The bare-bones performance adds to the song’s simple power. Musically, Campbell and Aldridge’s “Dark Night of the Soul” begins like Paul McCartney’s “Let it Be” but 16th-/scentury Spanish mystic St. John of the Cross inspired the lyrics. Campbell sings beautifully throughout, her middle Tennessee accent a prominent part of the proceedings. On some of the songs, Oldham offers a soft vocal harmony or counterpoint. The fact that they’re able to convincingly perform some of the weaker material, like Kris Kristofferson’s “They Killed Him” — compare it, if you will, to Dylan’s bizarre recording — is a testament to the spirit-flame that warms and illuminates this album.

– Ben Windham, Tuscaloosa News 

Kate Campbell and southern soul architect Spooner Oldham have crafted some memorable moments together in recent years, but in the gospel-oriented For the Living of These Days, they have reached a depth of feeling remarkable even for their collaborations. There’s nothing fancy here: Campbell simply opens up her heart, digs into her soul, and feels to the core every message she imparts with such gentle urgency. Oldham supplies a few humble background harmonies, but his main role is to buttress Campbell’s stately vocalizing with down-home, backwoods church piano and organ. Spare and respectful, reverent and transportive, these performances beg only to be heard. Campbell doesn’t exactly take a noncommital stance here, though; rather, she wears her topicality with appealing demureness. In Bobby Braddock’s “Would They Love Him Down in Shreveport,” she renders Christ’s tribulations with bemused sweetness, over Oldham’s rich organ chording. In “Jesus Christ,” which Woody Guthrie modeled on his rewrite of the traditional outlaw ballad “Jesse James,” Campbell, accompanied only by her softly strummed acoustic guitar, describes misunderstood historical figures, each betrayed by a “dirty little coward,” each aligning himself with the downtrodden, each meeting a violent end. Gentle, organ-fueled pleas (“Be Thou My Vision”), acoustic guitar-and-organ exultations (“God of Grace and God of Glory”), and a moving, searching, nearly a cappella rendering of the African-American spiritual “There Is a Balm in Gilead,” suggest the varieties of religious experience in a thought-provoking style that is sneakily didactic but intensely mesmerizing.

– David McGee, Barnes & Noble 

There’s no sacrilege intended in terming this spiritually minded collaboration a match made in heaven. Kate Campbell has won a loyal folk following with her purity of tone, literary inspirations, and depth of moral vision. Spooner Oldham has supplied soulful keyboards behind artists ranging from Percy Sledge and Aretha Franklin to Bob Dylan and Neil Young, and has further distinguished himself as songwriting partner of the great Dan Penn. This collection of hymns and contemporary material in a Christian vein benefits from the stripped-down intimacy and one-take immediacy of their performances as a duo. “If I Ever Get to Heaven,” a Campbell-Oldham composition, speculates on the afterlife, but the most pointed material concerns the religion’s radical message for life on earth, with Woody Guthrie’s “Jesus Christ,” Bobby Braddock’s “Would They Love Him Down in Shreveport,” and Kris Kristofferson’s “They Killed Him” each suggesting that a second coming could result in another crucifixion. Whereas some of the more traditional-sounding material, such as the Irish “Be Thou My Vision” and “There’s a Wideness in God’s Mercy,” stresses the comforts of religion, original material from Campbell—including “Dark Night of the Soul” and “Terrible Mercy”—explores the complexities. Whatever the message, Oldham’s gospel piano and bedrock organ are worth hearing on their own.

– Don McLeese, Amazon Editorial Review

“I’m completely overwhelmed. Kate Campbell and Spooner Oldham’s new album of white gospel is a sure-fire masterpiece. Campbell’s warm voice floats above Oldham’s gentle touch of keyboards. Together they create a piece of timeless beauty, music so joyful, it will make the most evil denier of God near-religious!”

LIRA, Swedish Music Magazine 

Although country and Anglo-American folk have a lot of common heritage (both are descendants of Celtic, Welsh, and British folk), the two have often parted company in a big way when it comes to political and social attitudes. Folk has long been a bastion of liberal activism, whereas country is one area of the music world in which neocons are not hard to find — which is why the Dixie Chicks caught so much flack for criticizing the George W. Bush Administration in 2003 (no one on the folk circuit is going to boycott Ani DiFranco or Phranc for opposing the neocon agenda). Folk audiences, on the whole, are disdainful of the modern country/pop/gospel artists who openly support far-right organizations like the Christian Coalition, but that doesn’t mean that folk has to be secular or that the folk scene is anti-religion — and For the Living of These Days is a perfect example of a Christian-themed folk album. With this 2006 recording (which boasts Spooner Oldham on piano and organ), Southern singer/songwriter Kate Campbell maintains both a Christian focus and a folk orientation. This 45-minute CD is definitely country-influenced, but the performances are more folk than country; that is true on Campbell’s own songs as well as inspired performances of Woody Guthrie’s “Jesus Christ,” Bobby Braddock’s “Would They Love Him Down in Shreveport,” and Kris Kristofferson’s “They Killed Him.” For the Living of These Days is not a heavily political release, and yet, some of the material does acknowledge the more liberal/progressive strains of Christianity. “They Killed Him,” with Kristofferson’s favorable reference to Hindu activist Mahatma Gandhi, is not exactly typical of the sentiments one associates with a Jerry Falwell sermon. Bottom line: For the Living of These Days is excellent as both a Christian album and a folk album.

– Alex Henderson, All Music Guide