New Orleans: where voodoo challenges Catholicism for affection; where people visit for the graveyards and stay for the funerals. Only here could Sister Gertrude Morgan, a folk artist and self-professed “bride of Christ,” spend 20 years singing in the streets only to have an album produced by hip-hop auteur King Britt a quarter-century after her death. Utilizing Morgan‘s legendary sole 1968 recording, Britt concocts a seemingly preordained experiment: slide guitar and broken beats, blurping basslines and Morgan‘s shamanistic tambourine all surround the ghostly incantations of a truly unique voice. Not always successful, but at its finest moments-such as “Power”-truly transcendent.