The Definitives: “If That Isn’t Love”
July 17, 2012 9 Comments
This is one of Dottie Rambo’s most popular songs, and it has been recorded countless times by numerous artists. When the song was current, there were several great versions, not the least of which was done by the Rambos themselves. The Downings also had a great cut of the song on This Is How It Is…Live. In later years the song has been recut by the Brian/Ivan/Mike era Gold City, and John Rulapaugh recorded a fantastic version with the Dove Brothers.
The definitive version of this song, however, comes from this classic 1970 live album by The Imperials. Jim Murray, Terry Blackwood, Roger Wiles, Armond Morales, and Joe Moscheo on piano created an arrangement of this song that has not been equaled. The song starts with a guitar dominated intro before the group enters on the first verse singing the first line or so in two part harmony. The group splits into full four part harmony on the phrase “lonely hill of Golgotha” and the cascading harmonies just sweep you away. The key changes and Jim Murray takes the second verse as a solo, with the quartet rejoining him on the last line of the verse.
The arrangement of the chorus is what really sets this version apart. The first line contains an echo of the first phrase, then the chord progression on the phrase “the ocean is dry” is unlike any version you’ve heard. Armond walks down the scale repeating that phrase. Then there is a thrilling cascade downward of harmonies on the word “sky” in the next line. The second half of the chorus repeats this pattern, before the group tags the song with some beautiful vocal work repeating the phrase “It had to be love” twice.
My suspicion is that Joe Moscheo Terry Blackwood was responsible for this arrangement, and it is the most exquisite, creative arrangement that I’ve heard from him. If you have this album, listen to this track again and try not to be wowed by it’s splendor. If you don’t have this album, find someone that does and have them play this song for you. It’s magnificent, gorgeous, shimmering, and any other term denoting beauty you’d like to use.

While this song may not be a “hidden” gem, I think this particular version of the song is definitely a “forgotten” gem. Though I believe JD Sumner and The Stamps are more known for the song, the Downings also had a great live version on their album This Is How It Is…Live. Personnel were Joy (Dyson) Gardner, Ann Downing, Dony McGuire, Wayne Hilliard, Paul Downing, and Mack Peters playing bass. Joy is the featured vocalist and she absolutely knocks this song out of the park. She delivers a very powerful and emotional lead vocal, supported by some really nice harmonies from the rest of the group on the choruses. The tag is impressive as well, as the intensity is ratcheted way up on the broadening of the line “and that’s how Jesus purchased my salvation”, then drops to a quiet “now I find no fault in him.” The last word is sustained by Joy while the group sings some wordless moving chords behind her that finally resolve to the I chord. This performance cements Gardner as one of the most dynamic sopranos this genre has ever seen. Pull out your LP copy and spin this song up. If you don’t own this album, Ann Downing has it available on CD
From 1972′s Neighbors album that features classics like “I’ll Soon Be Gone” and the Downings’ great version of “The Lighthouse” comes this uptempo cut sitting at track 2. Joy Dyson has the lead on the verses and her vocal practically drips enthusiasm and emotion. There’s some nice group harmonies on the chorus, then the key changes for the second verse. On the tag, Ann Downing takes the melody and the harmony is inverted up as the tag is repeated and faded. Just a great tune from a classic group. Pull out your LP and give it a listen!
This song made its appearance on 1973′s Love Beyond Compare album. Lyrically it capitalizes on the extreme interest in the Rapture and end-time events in general during the period (this is roughly the same era as the book The Late Great Planet Earth by Hal Lindsey) by questioning if today is the day of the Rapture, as something seems different about the day. Musically the song starts and a medium tempo with Ann Downing and Joy (Dyson) Gardner alternating lead lines along with some group harmony interspersed. Toward the middle of the song, there’s a drum fill and the tempo ratchets up several notches, along with the overall intensity of the song as the harmony is inverted up. This is just a really good song from a classic album by the Downings. If you have a copy, pull it out and give this song a listen again.
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