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Mike Farris - Salvation In Lights

Salvation In Lights

Mike Farris

INO Records

Available from CD Baby.

A review written for the Folk and Acoustic Music Exchange
by Bob Gottlieb

Sometimes the stars fall just right and all the forces align to produce a work that has everything going for it and just fits the bill, even though it is shocking to the system. On the cover there is a picture of Mr. Farris, a youngish white man wearing stylish leather jacket and glasses standing in front of a foggy New Orleans style backdrop, switching to the back cover you see a bunch of song titles that indicate a gospel disc. Perhaps you scratch your head and just put the disc in the changer and hit play, out of the speakers comes a voice drenched in the church of southern soul rock and roll, with a wonderful back up band, especially including the fantastic supporting singers, that goes from the gospel tents to the speakeasies of New Orleans Jazz, to the back roads taverns that spawned R & B. His vocals swoop and soar carrying songs to other realms that pictures defy. Listen to the treatment that he gives to the Sam Cooke tune, Change Is Gonna Come, very close to the original but different enough to stand up on its own and a definite testament to this man's vocal power. There is a soulfulness and enough power in this man's voice to ignite a fire under a dead man's corpse and make it get up and do a dance down the street; or to rise the dead and have them form a chorus to testify to what he has to say. From Southern Delta Blues, to new Orleans Gospel testifying, to Stax Soul, this man has the power in his voice. I'd love to see this guy perform live with a full band and backing singers.

Track List:

  • Sit Down Servant
  • Streets of Galilee
  • Oh Mary Don't You Weep
  • Precious Lord, Take My Hand
  • Change Is Gonna Come
  • Devil Don't Sleep
  • Can't No Grave Hold My Body Down
  • Selah! Selah!
  • Take Me (I'll Take You There)
  • The Lonely Road
  • I'm Gonna Get There

Edited by: David N. Pyles

Copyright 2008, Peterborough Folk Music Society.
This review may be reprinted with prior permission and attribution.

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