- Digital
Various Artists
Angola Prison Spirituals
Death Is Not The End
- Cat No: DEATH001
- Release: 2014-06-23
- updated:
Track List
-
1. A. Mosely & Robert Pete Williams - I'm on My Way
02:40 -
2. Robert Pete Williams - Church on Fire with the Word of God
03:01 -
3. Robert Welch - What Shall I Do
02:52 -
4. Angola Quartet - Brother Norah
02:50 -
5. Tom Dutson & Robert Pete Williams - Little School Song
01:29 -
6. Robert Pete Williams - Dyin' Soul
04:30 -
7. Roosevelt Charles - Let My People Go
03:42 -
8. Robert Pete Williams - So Much Is Happenin' in the News
04:14 -
9. Tom Dutson & R.P. Williams - Dig My Grave with a Silver Spade
03:46 -
10. Andy Mosely & Hogman Maxey - Brother Mosely Crossed the Water
01:27 -
11. Angola Quartet - I'm Stranded on the Banks of Ole Jordan
01:55 -
12. Robert Pete Williams - I'm Going Back with Him When He Comes
03:00 -
13. Congregation Rev. Benjamin E. Osbourne - That Old Ship of Zion
06:59
16bit/44.1khz [wav/flac/aiff/alac/mp3]
**Vinyl LP now available, limited to 300 copies**
Recordings of 1950s folk-blues-gospel music from inmates of the Louisiana State Penitentiary in Angola.
Death Is Not The End reissue on vinyl Dr. Harry Oster's collection of recordings from Louisiana State Penitentiary in Angola, originally released in 1959.
For a brief period, the American South was full of musicologists keen to record and archive the great and expansive tradition of folksong. The context of these particular recordings conveys the contrast between the stark dignity of the performers and the unpleasant circumstances through which they found their way into Angola. Here amongst them appears one of Angola's most notable blues players Robert Pete Williams, having served time for murder in the 1950's and going on to enjoy a fruitful and expansive recording career.
Recordings of 1950s folk-blues-gospel music from inmates of the Louisiana State Penitentiary in Angola.
Death Is Not The End reissue on vinyl Dr. Harry Oster's collection of recordings from Louisiana State Penitentiary in Angola, originally released in 1959.
For a brief period, the American South was full of musicologists keen to record and archive the great and expansive tradition of folksong. The context of these particular recordings conveys the contrast between the stark dignity of the performers and the unpleasant circumstances through which they found their way into Angola. Here amongst them appears one of Angola's most notable blues players Robert Pete Williams, having served time for murder in the 1950's and going on to enjoy a fruitful and expansive recording career.
