Abyssinians

The CD was fantastic. I have wished for it a long time and finally was able to find it. A wonderful listening experience and a masterpiece of composition. Recommend Burns Civil War to anyone with appreciation of Americana at its best. Thanks to Amazon for making it available.

What wonderful music. It will take you back to that wonderful series on the Civil War. The Ashokan Farewell has got to be one of the most beautiful and touching songs I have ever heard. When I hear this exquisite music in the background while the letter of Sullivan Ballou is read...it just tears me apart.

Ashokan Farewell has been a hit in the UK, especially on the radio station I listen to during the day. I remembered the tune, and with the help of your search system found and purchased the music. I do remember the TV production, which in itself was superb, and the very atmospheric music helped it to be, in my view, a classic. Next will be the DVD.
cheers,
TERRY.

this soundtrack cd is really good,it evokes a lot of feeling too.Now,here's a surprise the piece of music titled ''Marching through Georgia'' is actually used in scotland uk as a secterian song/music,just shows how the one piece of music can be used for different things.The civil war tv series was excellent too.

It is extremely difficult to find a instrumental version of Shenandoah; to which this CD has. I personally hope that a Civil War Brass Band will play this as an instrumental. A Civil War folk song; it has more meaning to those who are near the Shenandoah mountains and river. In the Native American Indian's translation--it means "Daughter of Stars."

The Ashokan Farewell instrumental, as is played; there is no better to be found. I am of the belief, that Ken Burn's "Civil War" will be forever linked to this music.

The rest of the music, in my opinion--is better played by the Americus Brass Band and Camp Chase Fife and Drum Corps. By using the authentic type drums; it makes a huge difference on the entire 'recipe' of the music piece/selection.

If you're not fussy and not hungry for period instruments only--then it would be a higher ranking.

Although this large choir must rehearse a lot, this album is not a studio recording. This is live church and every ounce of their joy, love and praise to God is poured into it.

If "Said I Wasn't Gonna Tell Nobody" doesn't lift you out of your seat, you should check your pulse to see if you're still alive.

The rest is a sure testimony of comfort strength and love.

The music is the best of call and response style, with ample improvisation, hand clapping and the sound of over 100 voices in full strength makes this one of my favorites.

I'm sitting and working and have this on full blast right now and can't wipe the smile off of my face.

I love classic Black Gospel Music and have been a collector of such for more than 20 years. This CD takes me back to the time when I first attended a Holiness church. One can feel the Spirit through the songs, especially Heaven Belongs To You, Said I Wasn't Gonna tell Nobody, He Stays In My Room, and He Is Such An Understanding God. One feels the genuineness, sincerity, and soulfullness in the voices. Prof. Alex Bradford is in a class with such foundationary greats as Roberta Martin, Mahalia Jackson, Thomas Dorsey, and Clara Ward. For any serious lover of choir albums, this CD is a must for your collection.

I agree with a previous reviewer who wished he could give it ten more stars. This CD will get you going whether you want it to or not---even my teenagers, who usually groan when I put my music on, like it. One of the other things I really like about it is what you hear after the song is over--they laugh and talk and you can tell they are having just as great a time as it seems. When I listen to this CD I feel like I've just gone to church, but I also feel like I've just been to a really good party. Can't recommend it highly enough.

Gospel music, as anyone who's visited the gospel tent at the N.O. Jazz Fest knows, can be amazingly rockin', and this, my friends, rocks like a big dog. "Shaking the Rafters" is about right. And, it isn't about technical excellence in singing - it's about the, if you will, spirit...

No matter your religious affiliation, you will be sweating, shouting, foaming at the mouth and writhing on the floor in ecstasy. Then, wait till you put on the disc...(rim shot)...Just kidding - this music will do all of the above, and in the privacy of your own living room...

I found my way here through Tom Waits' recommendation. He calls this the greatest Rock 'n Roll Album but that's probably only because he's allowing for a much broader spectrum, one that allows for rock music's roots to be included. Your category might be smaller and more exclusive. If that's the case go with his other recommendation - "Little Richard/The Specialty Sessions"

Now onto "Shakin' The Rafters". You don't have to be a Christian to appreciate the music. Heck, you don't even have to like Christianity to appreciate it, which would put you in pretty much the same boat I'm in. What you have to like is hearing people's joyousness shine through their work and you would have to look past the flaws in the recording and the occasional "who stepped on a duck?" notes that can happen when one isn't concerned with making the "ideal" record, where imperfections are digitally re-mastered away, but rather with capturing the spirit of the occasion.

Basically, if you like Sam Cooke, Aretha Franklin, Ottis Redding, Irma Thomas or Smokey Robinson then you'll like this. And you can like it just fine without being a Christian.

Not much to say about this album, in my opinion the best roots reggae album ever done.
Necesary for anybody who likes reggae.

I learned about the Abyssinians watching Rockers. When I got this album I had to listen to it two or three times in a row. Great!!

This is simply a wonderful piece of music. I have had the honor to see The Abysinnians twice in the last four weeks after many years of listening to their music and especially this CD. They are great. Spiritual, roots to the core, no BS. Judge for yourself-it's a classic!
Jah be praised.

LET'S FACE IT THIS IS THE GOSPEL IN MUSIC FORM, EXPLORE THE NIV AND OTHER NEW VERSIONS AS THERE IS A LINK. GOD USES WHAT AND WHO HE CHOOSES TO GET THE SEEDS OF THE GOSPEL SOWN.

LISTEN AND ENJOY,

OPEN OUR EYES!

FEED YOUR MIND

Yes, the songs are all the same tempo, and they all start with a variant on the classic reggae drum roll. But in order to truly appreciate this album, you have to listen closely--not only to the lyrics, but to the inflection of the voices. This album is, in a way, sad; the songs are wrought with a sense of pain that other albums don't convey. Listen to the WAY that "Black Man's Strain" is sung, and the pain in his voice when he sings the word "Why..?" Or the sweetness in his voice in Reason Time, when he is pleading with others to just "walk and talk" so as to reason with each other rather than fight.

This album is filled with subtleties like this that make it unique and a pleasure to listen to. And we can all feel and learn something if we listen close enough.

If you like Ray Charles, B.B. King, Aretha Franklin, Whitney Houston, the Soul of Motown or Stax-Volt, or any great Black R&B or Soul singer that you care to name - then you will love this music. These are the roots, the soil it came from, the training ground for pop stars from Sam Cooke and Wilson Pickett through Whitney Houston and Lou Rawls, and the arena in which many of them made better, more powerful music than they ever did on the pop stage - Black Gospel music from the 30's through the 60's.

Even to an agnostic like me, this is holy stuff, sacred ground, as important and immortal as any musical art that America has produced - it belongs on the same shelf with Louis Armstrong in the 20's, Charlie Parker and Dizzy Gillespie in the late 40's, the Ellington Band in the early 40's, Coltrane in the 60's, Miles Davis mid 60's quintets, the rags of Scott Joplin, the music of George Gershwin or Stephen Foster or Aaron Copland, the bluegrass of Bill Monroe, the country of Hank Williams, the blues of Robert Johnson, the rock and roll of Elvis, Little Richard and Chuck Berry - this is quintessential America. And it rocks like a m****f****!!

This is as authoritative as a collection can get, produced by John Hammond of Columbia Records, the guy who "discovered" Count Basie and Bob Dylan and produced "Spirituals to Swing" and all the rest, and Tony Heilbut, historian and gospel fanatic. These guys know the best when they hear it, and they have crammed an amazing amount of the best into just 2 CD's. From stunning folk roots of Blind Willie Johnson and his slide guitar, Arizona Dranes and the "primitive" Mitchell's Christian Singers to the smoothly polished "jubilee" style of the Golden Gates, to the intense, driving "hard gospel" quartets of the smoking Ira Tucker and the Dixie Hummingbirds, from the solo divas (Mahalia Jackson, Marion Williams, Dorothy Love Coates) to the rocking, swept away "in the spirit" choirs like the Abbysinian Baptist, it is all here. Has any American ever sung better, and rocked harder, than the Golden Gates in "Jezebel", the Dixie Hummingbirds in "One Day" or Dorothy Love Coates in "Strange Man". This is time capsule stuff, as definitive as Hank William's "Cheating Heart", Berry's "Johny Be Good", Joplin's "Maple Leaf Rag" or Copland's "Appalachian Spring". As much as any 2 CD's can capture a music, Heilbut and Hammond have done it. For 30 years, this collection has been the place to start with Black Gospel.

Not everything fits - I badly miss Archie Brownlee and the Five Blind Boys of Mississippi; R.H. Harris and Sam Cooke with the Soul Stirrers; Claude Jeter with the Swan Silvertones. You can pick up these guys and many others by moving next to Tony Heilbut's collection "When Gospel was Gospel" on Shanachie, or the new "Gospel Music" collection by Joel Dorn and Lee Friedlander, just a click away on Amazon. But right here is the place to start.

I acquired this as an LP set in 1980. The tracks are arranged chronologically, and illustrate the remarkable progression of African-American spiritual music as recorded on Columbia records. This label is remarkable in that, beginning in the early part of the 20th century, it developed an extensive library of various American music forms. Not only is this compilation a good primer for gospel neophytes, but it is also essential for anyone involved in religious music -- particularly gospel music history. Pick this set up quickly, before it goes out of print again!

These CD's are great. It really shows the heritage of Gospel music. "I Said I Wasn't Gonna Tell Nobody" is sure to have you pat your feet and clap your hands...and maybe even do a shout. Also, I'm really not a big Marion Williams fan, but her songs that are featured on this CD are marvellous

This is probably the most solid gospel compilation I've found. The selection is smart, elegant and historically significant over a span of decades. But best of all, you can feel the spirit move.

From solo acts to choirs, I don't think there's a cut here that doesn't hold it's own and then some. I appreciate the chronological arrangement especially as it gives context to social commentary, esp Staple Singers' 'Why' and (my all-time favorite group) GGJS' 'Stalin...'.

I've listened to this record for 15 years--it always has something new to offer. I didn't even realize it had been reissued on CD. Now that's something to sing about!

...with Blood & Fire. You should try to catch the soundsystem live if you ever can.

This album is what it is, if you like the riddim and 'get' riddim albums, you'll love it.

In reponse to what was written below, WARNING THIS IS A RECORD IT PLAYS MUSIC AND YOU WILL NEED TO BREATHE AIR WHILE YOU PLAY IT. YOU WILL PROBABLY ALSO NEED TO EAT FOOD AT SOME POINT IN THE SAME DAY YOU LISTEN TO IT. WATCH OUT!

TREE OF SATTA: Single-rhythm albums can be a fairly off-putting proposition for the uninitiated, but when you're versioning a certified classic like The Abyssinians' 1969 rasta hymnal, SATTA MASSA GANA, even casual reggae listeners stand to be impressed. The opening horns salvo (Deadly Headley on alto sax, Vin Gordon on trombone) is instantly recognizable, and leads into each of twenty selections hand-picked by original Abyssinian, Bernard Collins. The first nine tracks are of 1970s vintage, appropriately led by the genre-defining original. Instrumental cuts by the late, great Tommy McCook (tenor sax) and Lloyd Charmers (organ) are clearly the top picks among the early runners. Perhaps surprisingly though, it's the second part of the program - comprised of contemporary readings from some of the biggest names in the modern roots revival movement - that really takes off. Luciano's MAN OF JAH ORDER, Yami Bolo's CONSPIRACY and Jah Mali's CORNER STONE are all top-ranking roots renditions, while Capleton and Anthony B deliver suitably fiery DJ versions. U-Roy's BLESSED is testament to the veteran DJ's undiminished powers of vocal persuasion; it could easily have been voiced thirty years earlier at Tubby's studio - stunning! Further instrumental cuts from legendary guitarist Ernest Ranglin, and Dean Fraser (successor to Tommy McCook's throne of saxophone) are also of the highest caliber. When you take into account the exceptional packaging - which is the norm for Blood & Fire releases - including illuminating sleeve notes and track-by-track comments, and of course the strength of the source material itself, TREE OF SATTA's success is a foregone conclusion. A second volume is apparently scheduled for release in the not-too-distant future, and I won't hesitate to pay up for another installment.

By the way, it's nice to see Blood & Fire - a label previously trading exclusively in vintage re-release programs - supporting modern roots artists. I hope to see more contemporary releases from the label in the future...

Buyer beware! This album does not contain the music of the Abyssinians. It is a compilation CD of various artists covering an Abyssinians' song. Most songs on the album are just dubs of the original, using the exact same sample repeatedly. I love the music of the Abyssinians and many of the artists featured on this album. However, after listening to three or more songs, you may become sick of hearing the same rhythm/melody over and over. Maybe not. I leave it up to you. Pease&luv always.

I am not a fan of riddim albums but this a a very good one over the classic Satta beat. Can you beat Luciano, Capelton and all the other reggae greats???? all lovers of roots reggae need this cd

First off, don't even think of buying this album before owning the original, the Abyssinians are a vocal group, the songs are great, hear them in their entirety. The dub mixing on this album is not credited to anyone, this is not a vintage dub album, these are modern dubs of vintage songs. The mixing is boring, predictable, and formulaic. Not creative at all, these mixes just leave you wanting the originals. The vocals are never echoed off into the distance; they play for a few bars and then just stop. Dub is not about turning instruments on and off; it is about weilding the instruments like swords, slicing through the sound and flowing through your head. A good dub will create new rhythms by using different combinations of the existing tracks to create something more than the sum of its parts. This album is just the original album, lacking different instruments at different parts. Completely predictable, the mixer of this album seems to just be following the 'rules of dub': play vocals for two bars, stop, play bass and drums for two bars, use reverb, stop, enter guitar for measure, stop, repeat. Dissapointing. And "declaration of dub"'s only version of the great song "declaration of rights" is not even from the original recording; new electronic-sounding instruments and NO vocals are the dub of the song. Weak.

It would be strongly advised to listen to the original "Satta Massagana" recordings before hearing these dub remakes to better bask in all of the beauty the Abyssinians have to offer, especially those beautiful voices and harmonies...

...BUT even if you don't, you can not help but be amazed by what this album has to offer. You still have the music pretty much intact, and tasty pieces of the roots reggae vocals that made Abyssinians songs what they were, on there to whet your appetite for more of this great trio.

For me, however, as much as I love dub albums, the Abyssinians are best heard in their full vocal glory, and dub, by definition, will only give you small glimpses into what was really going on in any session, song, etc. Enjoy this album for the dub it offers- its straight forward and has great moments on it- but also get the original "Satta Massagana" lp to fully understand the Abyssinians experience.

This is the disc that did it for me. One day, two years ago, I was high and listening to this album, and I had a realization.

Something like "Reggae's not about who can do what, or how fast they can solo. It's about channeling something deeper"

Since then my life has changed. This CD, especially "Thunderstorm Dub" - is profound.

fine melodies, highly religious, great backing band, laid back rhythms, drum breaks in the proper places... what more could you want?

for the yuppie cracker craving the sonic warmth of the black man singing sweetly on bended knee above tough roots rhythms, perhaps he or she(but overwhemingly likely he) should pick this one up.

Another great one from '78. Another great release from the Abyssinians. Their music is very spiritual. It just makes you feel good. Good melodies and deep lyrics. If you liked Satta Massagana then you will not be disappointed with this one.

This album has some great sound and some excellent beats, the Abssinians definitely add to the tradition of quality reggae music. My complaints were that their focus was highly religious, rather than reggae's usually more socially conscious themes. Their sound is also slightly more polished or synthetic than many, in my opinion. A decent album, but not the best.