Southern Story Teller Paul Thorn Delivers Gospel LP ‘Don’t Let The Devil Ride’ With Help From Blind Boys of Alabama & The McCrary Sisters (ALBUM REVIEW)

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This one has been in the works for some time and now it’s here in all its resplendent glory. Working with the Blind Boys of Alabama, The McCrary Sisters, the Preservation Hall Jazz Horns, and Bonnie Bishop, Paul Thorn delivers his life-long dream, a full gospel album, Don’t Let the Devil Ride. If you’re at all familiar with Thorn or have attended one of his live shows, you know that his dad is a minister and Paul grew up very church protected. Those experiences, particularly attending services at an African-American branch of his father’s church, have been simmering his entire life, his roots-rocker persona aside.

After stints in a chair factory, the National Guard, and as a boxer (including a match with Roberto Duran), Paul got his musical break by meeting Billy Maddox, who in turn, introduced him to the late Rick Hall, of FAME Studios in Muscle Shoals. Thorn cut his first demos there and, in another sense, has come full circle as Maddox co-produces here alongside Colin Linden.Several selections were recorded at FAME as well. Others were done at Sam Phillips Recording in Memphis and at Preservation Hall in New Orleans.

The album gets off to a rousing start with The Blind Boys backing him on “Come On Let’s Go.” This is gospel at its foot-stomping best and although great, the frenetic pace, fortunately, abates as the album unfolds.The album consists mostly of relatively unknown gospel tunes that were staples on local radio stations or tent revivals in Mississippi and Alabama. The exception is the O’Jays hit, “Love Train” which encapsulates the feeling and vibe Thorn was trying to achieve, albeit a much different rendering.Kevin Nutt of Summer’s Crossroads provides detailed origins of each song in the liners.

Notably, the title track was written by O.V. Wright while he was in gospel bands prior to moving to the secular side. “Jesus Going to Make Up My Dying Bed” is most often associated with Blind Willie Johnson, and later, folk-blues singers like Josh White. “You Got to Move,” attained popular music status through the Rolling Stones who were covering Mississippi Fred McDowell’s version.  Thorn, delivers completely different takes on both, maybe because we’re not used to hearing so many voices and the real deal gospel versions.  Speaking of McDowell, we get scintillating guitar work throughout, both slide and otherwise, from Bill Hinds and Colin Linden.

The album mixes up the sessions, with most of the Preservation Hall Horns appearing in the middle of the album.Those horns add perfect colors to the spellbinding duet between Thorn and Bishop on “Something On My Mind.” Otherwise, Thorn’s lead vocals are augmented at various points by the Blind Boys, TheMcCrarys, and Bonnie Bishop, sometimes in tandem, all making for a roof-raising experience.

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