“A portion of benefits from this compilation will benefit the New Orleans Musicians Relief Fund,” it says right in the liner notes. So buy a copy. Know, however, that this set, well- nigh four hours of testimony over three discs, will comfort, ennoble, and enable you through any future floods, earthquakes, fire ant infestations, and whatever Old Testament vengeance an angry Earth can land on your head. At those prices, how many copies should you buy? Enough to arm every one of your loved ones? Yes.

Like Harry Smith’s Anthology Of American Folk Music, Fire in My Bones follows no chronological pattern, aligned instead under three theses, one for each disc: “The Wicked Shall Cease From Troubling,” “God’s Mighty Hand,” and “All God Power Store.” I’m still not sure what these subdivisions mean, but I intend to listen until revelation strikes me.

Given 80 tracks covering more than 50 years, everyone will cultivate a few favorites. For fervent dedication to supplication, I’ll take “Pray On, My Child” by the Willamette Gospel Singers, circa 1964. For graphic affirmation of Christ’s sacrifice, I’ll take “Jesus’ Blood” by the Golden Stars of Greenwood, SC, circa 1954. And for sheer spooky elegance, I’ll take “Glory Glory Hallelujah” by Napolian [sic] Strickland, 1972. After affirming “I’ve got religion” and hoping you do too, Strickland begins to play harmonica. And play some more harmonica. A little more testifying, but mostly that mouth harp invoking another kind of harp played on high, reminding you why they used to say “Holy Ghost.”