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Kate Campbell with Spooner Oldham - For The Living Of These Days

For The Living
Of These Days

Kate Campbell
with Spooner Oldham

Available from Kate Campbell’s web site.

A review written for the Folk & Acoustic Music Exchange
by Mike Jurkovic

For all the wrong reasons, God, in all his wondrous incarnations, has been co-opted for reasons of war and intolerance. But this moving collection of everyman hymns may just be the one of the first steps we all need to take to make God — his message, his hope, his desire for us all to simply get along — back into our hearts and homes and out of the political arena.

Kate Campbell has built her reputation on rich, quality work, and For The Living Of These Days is no exception. Oldham's reputation is the stuff of legend (Solomon Burke, Aretha, Dylan, Neil Young) and this collaboration will certainly not be a mere footnote.

Opening with an impassioned reading of Woody's Jesus Christ, For The Living of These Days keeps its fourteen songs simple so that the spiritually, the innate compassion we have inside, can shine through. This blend of the traditional (Be Thou My Vision, There Is A Balm in Gilead) with covers (Booby Braddock's Would They Love Him Down in Shreveport, Kristofferson's They Killed Him) and deeply inspired originals (Campbell/Oldham's soulful If I Ever Get To Heaven, and the thankful When I Let Jesus Take My Hand by Spooner and his wife Karen) all carry a great, quiet power, which hopefully will prove to be greater than all the bombs.

*For a needed reminder or refresher course on Spooner, check

Track List:

  • Jesus Christ
  • If I Ever Get To Heaven
  • Without Him
  • Be Thou My Vision
  • Prayer of Thomas Merton
  • God of Grace and God of Glory
  • Dark Night of The Soul
  • When I Let Jesus Take My Hand
  • Terrible Mercy
  • Would They Love Him Down in Shreveport
  • There's A Wideness in God's Mercy
  • They Killed Him
  • Faces in The Water
  • There Is a Balm In Gilead
Produced by: Kate Campbell

Edited by: David N. Pyles

Copyright 2006, Peterborough Folk Music Society.
This review may be reprinted with prior permission and attribution.

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