Isaac Freeman The Bluebloods - Beautiful Stars (2002)

Isaac Freeman The Bluebloods - Beautiful Stars (2002)

  • Genre: Blues, Mp3
  • Formats: MP3 FLAC WMA HD APE
  • Album Size: 1747 mb.
  • Archive: ZIP RAR
Artist: Isaac Freeman & The Bluebloods
Title: Beautiful Stars
Year Of Release: 2002
Label: Lost Highway Records
Genre: Blues Gospel
Quality: 320 kbps
Total Time: 44:47
Total Size: 122 MB

1. Standing On The Highway (5:13)
2. Because He Lives (5:01)
3. Lord I Want You To Help Me (3:16)
4. Don't Drive Your Children Away (2:51)
5. Jesus Is On The Mainline (3:31)
6. Beautiful Stars (5:53)
7. When We Bow In The Evening At The Alter (4:23)
8. You Must Come In At The Bottom (2:57)
9. Don't Take Everybody To Be Your Friend (4:34)
10. I've Got Heaven On My Mind (4:42)
11. The Liar (2:21)
Great African American gospel music has an indisputable power, rooted in the audible faith of its performers and the beauty of their voices. As the bass singer of the Fairfield Four, an a cappella group that started more than a half century ago, Isaac Freeman is one of the brightest jewels in this tradition's crown. But the 73-year-old shines even brighter on his solo debut, thanks to the support of the spare and supple Nashville blues outfit, the Bluebloods. Of course, it's the resonance and depth of Freeman's baritone, as well as his stately phrasing, that gives these 11 songs gravity. Freeman reaches back to his childhood for numbers like the title track and "Jesus Is on the Mainline," and backing vocalists Regina Brown and Ann McCrary preserve the songs' revival-tent origins as a two-woman choir. But it's the scent of the barroom that makes many of these arrangements vital. The bass and drums add often swinging propulsion to the music, lending a kind of Afro-Cuban shuffle to "You Must Come in at the Bottom," an anthem of sorts for Freeman written by the Prairie Home Companion's Garrison Keillor. Bluebloods leader Mike Henderson's slide guitar plays winning foil to Freeman throughout. On "Beautiful Stars" Henderson translates Freeman's melody to his instrument, soaking it in vintage amp vibrato that makes each note throb as it hangs in air. And his guitar is as unhurried as Freeman's big voice. Henderson slowly bends strings and snaps out notes as he swaps lines with John Jarvis's electric piano in "When We Bow in the Evening at the Altar." All of which gives this union of church and state-of-the-art blues a solid constitution. --Ted Drozdowski
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