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Upated: January 1, 2007
CD REVIEWS
MURIEL ANDERSON - Harp Guitar Christmas
MURIEL ANDERSON - Wildcat
RILEY BAUGUS - Long Steel Rail
BAWN in the MASH - Welcome to the Atomic City
LEON BIBB & ERIC BIBB - Praising Peace: A Tribute to Paul Robeson
DALE ANN BRADLEY - Catch Tomorrow
BRESSLER BROTHERS - 40 Years of Memories and Grass
BRESSLER BROTHERS - Taste of Life
SAM BUSH - Laps In Seven
CADILLAC SKY - Blind Man Walking
CASEY & CHRIS and the TWO STRINGERS - Get Along Girl
JON CHRISTOPHER DAVIS - self-titled
THE CIRCUIT RIDERS - Let the Ride Begin
MICHAEL CLEVELAND - "Let 'Er Go Boys!"
THE CLIFFHANGERS - On The Edge: Traditional Old-Time Fiddle Tunes
JACK COOKE - Sittin' On Top of the World
THE JOHN COWAN BAND - New Tattoo
CROSS-EYED ROSIE - Adjusted
J.D. CROWE & THE NEW SOUTH - Lefty's Old Guitar
DAVID DAVIS AND THE WARRIOR RIVER BOYS - Troubled Times
DUHKS - Migrations
EMMONS SISTERS - Possibilities
EMMONS SISTERS - Turning Point
DAVE EVANS - Pretty Green Hills
RAYMOND FAIRCHILD - Smoky Mountain Christmas
FROM THE HEARTLAND - Lift Me A Little Higher
JOHN FLYNN - Two Wolves
FRITTS FAMILY - One More Mountain
THE GRASS SERIES (15 CDs)
THE GRASS SERIES (15 CDs)
CLARENCE GREENE and TONYA LOWMAN featuring Jeff Sommerow - Don't Forget Me
MICHAEL JOHNATHON - Evening Song
MARK JOHNSON & EMORY LESTER - Acoustic Rising
KACEY JONES - sings mickey newbury
JIM LAUDERDALE - Bluegrass
LAURIE LEWIS & The Right Hands - The Golden West
DEBRA LYN - I Can't Remember to Forget You
MIKE MARSHALL & HAMILTON DE HOLANDA - New Words Novas Palavras
GEORGE McCLURE - Playboy Swing
THE DEL McCOURY BAND - The Promised Land
McCOY GRASS - The Best Is Yet To Come
MONTANA MANDOLIN SOCIETY - Dance of the Sandhill
THE MORGANTOWN ROUNDERS - self-titled
MOUNTAIN MUSIC MACHINE - The Human Condition ...
THE OLD TIME BLUEGRASS SINGERS - Threads
THE OVERALL BROTHERS - self-titled
ELLIS PAUL - Essentials
JAMES REAMS & WALTER HENSLEY and the BARONS OF BLUEGRASS ...
DON RENO & RED SMILEY with BILL HARRELL & THE TENNESSEE CUT-UPS - Together Again
DON RIGSBY & Midnight Call - Hillbilly Heartache
ROADSIDE CAFÉ - Grand Opening
IVAN ROSENBERG - Clawhammer and Dobro
DARRELL SCOTT - The Invisible Man
SILVERBIRCH - Out On A Limb
RICKY SKAGGS & KENTUCKY THUNDER - Instrumentals
KENNY & AMANDA SMITH BAND - Tell Someone
VALERIE SMITH & LIBERTY PIKE - Wash Away Your Troubles
JOHN STARLING & CAROLINA STAR - Slidin' Home
STAY TUNED - Self-titled
LARRY STEPHENSON - Life Stories
JIMMY STURR - The Greatest Hits of Polka!
TANGLEWEED - Where You Been So Long?
THE TALLBOYS - Yeah Buddy
TODD TAYLOR - 3-FIVE-N
ANDY THORN - Bolin Creek
TIME FOR THREE - We Just Burned This For You
TOWN MOUNTAIN - Original Bluegrass and Roots Country
VARIOUS ARTISTS - Celebration of Life: Musicians Against Childhood Cancer
VARIOUS ARTISTS - Feel Like My Time Ain't Long: An A Cappella Gospel Collection
VARIOUS ARTISTS - Harlan County USA: Songs of the Coal Miner's Struggle
VARIOUS ARTISTS - North To Ontario
VARIOUS ARTISTS - Viva! Terlingua! Nuevo! Songs of Luckenbach Texas
THE WILDERS - Throw Down
WINDY CREEK - Take Me Back to the Mountains
TIME FOR THREE -
We Just Burned This For You
astralsvc@astralartists.org OR ranaan@hotmail.com
www.astralartisticservices.org OR www.timeforthree.com
Phone: 215-735-6999
www.tf3.com OR www.myspace.com/timeforthree
Playing Time - 41:17
Recorded live in concert at Bowling Green University (Ohio) on
January 13, 2006, this adventurous "multi-genre power trio" has a
unique affinity for (and the skill to effortlessly present) both
old-time fiddling and classical music. It's often said that artists
from one genre can't capture the heart and soul of the other. Many
bluegrass musicians play by ear, without classical training, and
their music is passed down from generation to generation with a
certain degree of rusticity in a folkloric fashion. Proficient
sight-reading classical musicians focus on technique, tone and
timing, often to make them better orchestra musicians. Time for Three
is a bold and courageous trio of young musicians with two violins and
upright bass. Zachary DePue, Nicolas Kendall, and Ranaan Meyer met
and formed the trio while enrolled at the Curtis Institute of Music.
Their self-titled debut album was released in late-2002. They perform
regularly, at a variety of venues and festivals, and with many
symphony orchestras. Their chutzpah is both a mix of strong
self-assurance with a little impudence on the side. Thus, this
pluckish trio is proving to be wildly entertaining.
With considerable shows under their belts, their repertoire shows
that these lyrical players can continue to evoke great emotional
electricity. It's interesting to compare this 2006 live concert with
many of the same old-time fiddling, bluegrass, Gypsy and classical
pieces released just over three years before. I don't sense any
boredom in their playing of the selections. If anything, their
youthful exuberance many push a few of them ("Csardas" or "Ragtime
Annie" or "Orange Blossom Special") into high-stepping tempos that
certainly have plenty of get-up-and-go but may actually lose some of
their emotion and passion as a result of their speed.
Opening with "Shenandoah," their considerable pluck and fine bow work
transition into a Ranaan Meyer's original, "Foxdown." Father of
Bluegrass Bill Monroe's "Jerusalem Ridge" about an area he hunted for
fox near Rosine, Ky. is given a snappy arrangement with such tempo
that the Celtic sounds that Monroe wanted to reflect with the minor
key have been sacrificed for improvisational jazz-like sensibilities.
As with their earlier album, Meyer's bass and some train sound
effects provide the prelude for an "Orange Blossom Special" that is
then propelled into a locomotive mood. Time for Three's live 2006
show only offered Jay Ungar's "Ashoken Farewell" (used as the theme
for the PBS Civil War series), instead of incorporating it into a
medley with "Amazing Grace" as they'd done before. Smooth handling of
their violin bows allow the virtuoso musicians to intimately convey
Ranaan Meyer's original "Thunderstomp," a highlight of this concert.
"The Bach Double" features just DePue and Kendall in a warm, weaving
conversation, while Brahm's "Hungarian Dance No. 5" moves at a fast
clip. They used to have a longer arrangement that segued from solo
bass to the selection's rhythmic intensity.
The eclectic trio Time for Three demonstrates power, virtuosity,
cohesion, and kinship. They would clearly be role models to other
younger musicians taking up strings. They have some standard
crowd-pleasers that are presented live. I encourage them to continue
writing their own music, looking for new material to arrange, and
pushing the envelope into uncharted territory.
A faculty member at their alma mater, award-winning composer Jennifer
Higdon, has been commissioned to create a contemporary work for the
trio, scheduled to premier in early 2008. And, as they move quickly
to even greater acclaim, I hope Time For Three won't be afraid to
slow down just a tad to tap the emotional depth and personalities of
some of the more familiar or less challenging melodies that they've
played for years. (Joe Ross)
ANDY THORN -
Bolin Creek
Thornpipe Productions, No number
http://www.myspace.com/andythornbluegrass
EMAIL Athorn82@yahoo.com
Playing Time - 50:49
SONGS - Bolin Creek, I Wonder How The Old Folks Are At Home, The Only
Survivor, Garris, All That I Can Take, Old Cold Waltz, Leavin' Town,
Winter's Mourning, Up Above, The Snake, Sundog, Shape I'm In, Star of
Munster, Tumbleweed
Tony Trischka advises us to "keep our eyes and ears on" young
twenty-something progressive banjo-player Andy Thorn from Durham, NC.
Thorn's debut album, recorded in his living room over the course of a
4-day period in late-2005, gives us a taste of his proficient
playing, enthusiastic singing, and competent songwriting. Back in the
old days, recording an album at this point in a musician's career
would be cost-prohibitive, but the availability of inexpensive home
recording equipment has now changed that. Besides convening some hot
pickers, the 2003 Rockygrass banjo champion (and band contest winner)
has also brought his performing experience with the Broke Mountain
Bluegrass Band, Big Fat Gap, UNC Jazz Band and Larry Keel to the
table. With minimal overdubbing on "Bolin Creek," Thorn organized
quite a bunch with considerable pedigree of their own -- Larry Keel
(guitar), Jenny Keel (bass), John Garris (fiddle), Mark Schimick
(mandolin), Jon Stickley (guitar) and Travis Book (bass). These
pickers are making their names with such up-and-coming groups as
Natural Bridge, Steep Canyon Rangers, Biscuit Burners, Big Fat Gap
and The Stringdusters.
Besides Andy singing lead on his own "All That I Can Take" and
"Tumbleweed," various other lead vocalists are called upon - Larry
Keel, Lauren Craig, Rick Hauchman, Mark Schimick, and Miles Andrews.
If there's a shortcoming on this album, it's that the vocals just
aren't up to the same standard as some of the instrumental prowess
demonstrated on original tunes like the title cut, "Garris,"
"Winter's Mourning," "Sundog," or J.D. Crowe's "Leavin Town." Check
out the triplets that Andy plays on the Irish reel, "Star of
Munster." There's a wide representation of banjodom here, and Andy's
nimble-fingered techniques are very sound with hammer-ons, pull-offs,
slides, bends, and rolls providing plenty of pluck. There's also some
very impassioned guitar, mandolin, fiddle and bass work on the album.
In the right hands, some of the original vocal numbers (e.g. "Up
Above" or "Old Cold Waltz") would be better served with fresh voices
covering them. Stickley's snare drum and whistle also appear in
"Tumbleweed," that has a refreshing melody but suffers from some
lyrical banality. Johnny Rivers' "The Snake" was done by Bill Emerson
and Cliff Waldron back in the 1960s who may have been looking for the
same kind of cross-genre success they achieved with their cover of
Manfred Mann's "Fox on the Run." Andy and company just don't quite
cut it the way Emerson and Waldron did. Still, there's plenty of
overall good-time energy and spirit on "Bolin Creek." I can tell they
had loads of fun making this CD, and Andy has also made a very
commanding statement about his potential. Like the quilt-draped
furniture and walls in his living room, Andy Thorn shows a fondness
for a patchwork of sounds that have a strong jamgrass footing. (Joe
Ross)
VARIOUS ARTISTS -
Celebration of Life: Musicians Against Childhood Cancer
Skaggs Family Records 6989090012
PO Box 2478, Hendersonville, TN. 37077
www.bluegrassclassic.com OR www.skaggsfamilyrecords.com
Playing Time - 71:47 (CD#1); 68:37 (CD#2)
It's easy to see how this 2-CD album has become one of bluegrass
music's top ten releases in 2006. Drawing material recorded live at
the 2000-2005 Musicians Against Childhood Cancer (MACC) Festival in
Columbus, Ohio, the project was inspired by executive producer and
musician Darrel Adkins. He and his wife Phyllis' beautiful
22-year-old daughter, Mandy, lost her battle to cancer (brain cell
tumor) in 2000. The non-profit MACC was formed, and the festival was
launched to raise funds for St. Jude Children's Research Hospital in
Memphis, Tn. where treatment is dispensed for children with terminal
illness. Volunteering to play the July festival, 136 artists are
featured here. Most all of the big names in bluegrass are featured -
Rhonda Vincent, Grascals, Keeny & Amanda Smith Band, Wildfire, Lost &
Found, Larry Stephenson Band, Cherryholmes, Doyle Lawson, Tony Rice,
J.D. Crowe, 3 Fox Drive, Marty Raybon, Blue Highway, Alecia Nugent,
Lonesome River Band, Seldom Scene, and many more. Liner notes clearly
lay out the pickers and singers on each song.
There are some entertaining pickup groups featured too. A 7-minute
version of "Freeborn Man" features Dan Tyminski, Tony Rice, Bela
Fleck, Doyle Lawson and Barry Bales. Of similar length, a bluegrass
instrumental version of Gershwin's "Summertime" stars Bryan Sutton,
David Talbot, Ashby Frank, Terry Smith, Aubrey Haynie and Randy
Kohrs. Tony Rice introduces and dedicates his 11-minute solo and
reflective rendition of "Shenandoah," with a declaration that "every
musician is right here exactly where we are supposed to be doing
this."
This album has a ton of first-rate and captivating variety from the
bluegrass community, but I took special note of each and every song
that conveyed sentiments that could be construed as tributes to the
memory and inspiration of Mandy Adkins. Alan Bibey made a point of
dedicating his own "Side by Side" to Mandy. As Kenny & Amanda Smith
sing, "I know this love will last forever, I know where loves lives,
someday we'll always be together, living in Him." Kudos to Jack
Campitelli and Bob Kelley for a fine job of recording, mixing and
mastering the 37-tracks of absorbing music without any significant
audience applause or background noise. Mandy would be very gratified
by the result, and bluegrass music and this festival will just grow
even stronger. Why? In "The Healing Kind" written by himself and Greg
Luck, Ronnie Bowman sings "the pain just grows stronger everyday, I
think of you and I'm on my way, down memory lane with your hand in
mine, Œcuz I'm just not the healing kind." (Joe Ross)
RICKY SKAGGS & KENTUCKY THUNDER -
Instrumentals
Skaggs Family Records 6989010072
PO Box 2478, Hendersonville, TN. 37077
www.skaggsfamilyrecords.com
TEL. 615-952-9250 OR 615-264-8877
Playing Time - 47:32
I assumed that all eleven of these instrumentals were written by
Ricky Skaggs because liner notes didn't provide tune credits. A
little info from the label's publicist indicated that nine are new
compositions by multiple Grammy award-winner Skaggs. Also, the CD
jacket for this band's first-ever all-instrumental project has the
entire seven-piece band on the cover, but a few of the regular
members appear to be missing in the musical mix. Bios for Darrin
Vincent and Paul Brewster are provided, but I don't see them listed
in the credits. We do hear Ricky Skaggs (guitar, clawhammer banjo,
mandolin, percussion), Jim Mills (banjo), Cody Kilby (guitar), Andy
Leftwich (fiddle) and Mark Fain (bass). Guests include Jeff Taylor
(accordion, whistle), Andy Statman (clarinet), and the Nashville
String Machine with orchestration by Jim Gray on one cut.
No one can doubt the astonishing fluency with which these string
practitioners speak. While they have a strong preference for
moderate-tempo'ed offerings, they manage to create an eclectic state
of musical mind with tastes of old-time, Celtic, bluegrass, Dawg,
blues, jazz and classical idioms. Green hues of the Land of the
Shamrock color compositions like "Going to Richmond" and "Goin to the
Ceili." If a fusion of Celtic and Classical sounds are your cup o'
tea, listen to the embellished brogue provided by the Nashville
String Machine on "Crossing the Briney." With the band "playing their
thoughts" in a manner similar to how fiddler Vassar Clements used to,
"Missing Vassar" establishes a hillbilly jazz groove based on a
recurring lick that honors that musical philosopher. With a copious
amount of respect for another mandolinist (David Grisman), Ricky
Skaggs and the boys lay a hot little tune, "Dawg's Breath," on us.
The melody inhales and exhales with precision, bounce and pizzazz.
When "Gallatin Rag" begins, as on a few others, we clearly hear the
only minimal shortcoming in this album's music - some distraction
caused by Ricky's pick on his fingerboard. Statman embellishes that
offering with some euphonious clarinet. In Statman's hands, it
becomes clear why the instrument was once affectionately called the
"hot licorice stick" among swing musicians in the 1930s and 40s.
All in all, this album is a tasteful tune set with several
interpretive twists along the way. Performed by exceptional
musicians, the composite is a product that would make Bill Monroe
proud. They don't betray their bluegrass pedigree. Rather, their
adventurous vision provides a treasure trove of unique tunes. I'd
like to see some music notation and/or tablature for them so I can
learn a few favorites. (Joe Ross)
KENNY & AMANDA SMITH BAND -
Tell Someone
Rebel CD-1821
www.kenny-amandasmith.com or www.rebelrecords.com
Playing Time - 39:38
Kenny Smith started his music career playing Southern Gospel music in
churches. His rock solid guitar work with the Lonesome River Band
from 1995-2001 twice led to his winning IBMA's "Guitar Player of the
Year." Smith's solo project, "Studebaker," showcased his fine
songwriting and wife's soulful singing. A couple years have now
passed since Kenny and Amanda turned plenty of heads with their
defining bluegrass album, "Slowly but Surely" (Farm Boy FBR-1001),
that included band members Ronald Inscore, Jason Moore, Steve Huber,
and Ron Stewart. It helped formulate the band's original,
contemporary sound characterized by beautiful vocals, expert picking,
solid arrangements, excellent repertoire, and high recording quality.
It also resulted in the band winning IBMA's 2002 Emerging Artist of
the Year award.
A couple years later in 2004, the versatile Kenny & Amanda Smith Band
debuted on Rebel Records with their 2004 "House Down The Block"
project. Now, in 2006, their first gospel CD, "Tell Someone,"
introduces us to three new young musicians in the band - Jason
Robertson (mandolin), Jason Davis (banjo), Zachary McLamb (bass). All
three are very solid instrumentalists, but one minor complaint is
that I can hear some of McLamb's strings snapping on the fingerboard
of his bass, particularly on the up-tempo numbers. While some of that
would be acceptable in a secular bluegrass set, it can be a bit
distracting in a spiritually-tinged gospel set. Daniel Carwiles
fiddles on seven of the tracks. Most of the band's vocal arrangements
are sparse with only Kenny's tenor harmony below Amanda's lead vocal,
but six tracks add a third harmony line courtesy of Rhonda Vincent (1
cut) or Wayne Winkle (5 cuts). The opening cut, "Shoutin' Time,"
illustrates the similarity between Amanda's and Rhonda's voices as
they trade lead vocals on the first and second verses. Laying vocal
harmonies in below Amanda's high lead gives the band a personalized
sound.
The album features standards that Kenny and Amanda sang while growing
up in church while also showcasing strong and effective compositions
from more contemporary songwriters such as Craig Market's "Mary Had A
Little Boy," Clay Hess' "I Know Why," and Richard Gulley's "Till I
Get Home." The intent of making this CD was clearly for Kenny and
Amanda to reach out and touch people by sharing messages of their
Christian faith. Their poignant closer, "Tell Someone How Precious He
Is," embodies the overriding theme of their ministry through music.
While they had been planning to record a gospel album for over a
decade, the impetus for the album was provided when Kenny's father
died in a tractor accident in March, 2006. With their calm assurance
and devout belief, they are ready to face tomorrow and the continued
opportunities and challenges that life will bring. (Joe Ross)
JACK COOKE -
Sittin' On Top of the World
Pinecastle PRC-1157
PO Box 753, Columbus, NC 28722
EMAIL info@pinecastle.com
www.pinecastle.com
Playing Time - 38:09
SONGS - 1 Gotta Travel On 2 I'm Walking The Dog 3 That's How The
Cookie Crumbles 4 Let's All Go Down To The River 5 North To Alaska 6
Dark Hollow 7 Long Black Veil 8 My Little Georgia Rose 9 On and On 10
Sittin' On Top Of The World 11 Seven Year Blues 12 There's A Higher
Power 13 Sugar Coated Love 14 Let Me Rest At The End Of My Journey
(Bonus Track) 15 I've Always Been A Rambler (Bonus Track)
On December 6, 2006, Jack Cooke turned 70 years old, and "Sittin' on
Top of the World" is a celebration of sorts. This country boy from
Wise County, Va. was born into a large family that played music and
sang in church. After he and his brothers won a band contest
sponsored by the Stanley Brothers, Jack went to work as the bass
player with Carter and Ralph from 1955-57 (picking up a bass for $15
or $20 from Mike Seeger). After over four years playing guitar or
bass with Bill Monroe, Jack Cooke formed his own band (Virginia
Mountain Boys) in Baltimore. There, up above Johnny's used car lot,
he recorded some albums (on the Wango label) with the Stanley
Brothers, calling themselves John's Gospel Quartet. This current
album being reviewed ends with two bonus tracks of archived material
recorded in 1963 (with Bill Sage, Roy Hoskins, Bobby Diamond). "Let
Me Rest at the End of My Journey" and "I've Always Been a Rambler"
illustrate what his band and voice sounded like over 40 years ago. In
late-1969, Jack went back to work with Ralph Stanley and has been
with him ever since. With good range and an ear for harmony, Jack can
sing all parts.
On his first day of the job, Ralph Stanley asked Jack to handle the
record sales. It's something he's successfully done without any
pretenses or insincerity for years. He comes across as a man with
empathy, kindness and understanding. His roots run deep to old-time
mountain and bluegrass music. He doesn't believe in any fancy stuff
or in taking the music "uptown." Jack once said, "A lot of people is
ashamed to tell how they was raised and everything, I believe. But a
man ought to tell it like it is. Got to keep it country. Keep it
mountainous."
What's so nice about this project is that it casts Jack Cooke into
the spotlight. He's no longer just a sideman, a guy who was once a
Blue Grass Boy with Bill Monroe or the long-time cornerstone in Ralph
Stanley's band. Vernon Crawford "Jack" Cooke is now a solo artist who
sings on all tracks and plays rhythm guitar on a couple too.
Appropriately, his album opens with "Gotta Travel On," a song he once
cut with Bill Monroe years before (12/1/58 in Nashville to be exact).
And, second up is one of his signature songs that showcases his
piercing tenor vocals, Webb Pierce's "I'm Walking the Dog." Jack may
have been the first singer to adapt the song to bluegrass, and he is
joined by Del McCoury's harmony vocals. Going way back, Del had been
a Virginia Mountain Boy before he went to work for Monroe. This
"Sittin' on Top of the World" album was produced by Jim Lauderdale
who wrote "That's How the Cookie Crumbles" and who appears in the mix
of three other cuts. Besides Del and Jim, other friends assisting
include Ralph Stanley, Ralph Stanley II, James Shelton, Todd Meade,
Steve Sparkman, Ronnie McCoury, Robbie McCoury, Jason Carter, Mike
Bub, David Grisman, and Hubert & Jeanette Cooke.
Not so long ago, Jack Cooke was a young musician living in an
exciting time and learning from the impressionable Monroe and
Stanley. Now, he's the mentor, and his relaxed and enthusiastic
singing of bluegrass, country and gospel numbers will influence
others. In a sense, he's passing on his genuine, honest music
tradition to the next generation and showing Œem how it was done.
Over the decades, Jack's been approached many times to do his own
album. I wish it would've happened sooner rather than later, but I
reckon that finally getting it done makes for a good 70th birthday
gift to himself, his family ... and us. With abundant rusticity, Jack
Cooke's solo album reveals a devotion to a powerful mountain sound
that is unadorned and down-to-earth ... just like Jack. (Joe Ross)
THE CIRCUIT RIDERS -
Let the Ride Begin
Pinecastle PRC-1154
www.pinecastle.com OR www.thecircuitriders.com OR
www.darinaldridge.com OR www.myspace.com/tcrpg
Playing Time - 45:00
Lonesome Wind, Powderfinger, Mama, What Does Heaven Look Like There,
Take Me Back To Old Kentucky, Seeds Of Doubt, Foggy Mountain Special,
Colder And Colder, In The Master's Glory, Katie and Burl, Ten Years,
Pickett's Charge, The Fall, Cold Wind
The Circuit Riders' "Let the Ride Begin" is a strong debut album that
earns accolades for a smooth, contemporary approach to bluegrass.
Presumably adopting a band name to reflect the lifestyle of a working
band, the quintet from North Carolina can impart an exhilarating
gallop to Neil Young's "Powderfinger" or a slow cantor to yet another
contribution from the prolific songwriting team of Dixie and Tom T.
Hall, "Mama What Does Heaven Look Like There?" About a traveling
musician, "Colder and Colder" is a beautiful song but seems to
slightly challenge singer Greg Luck's low vocal range on the verses.
Overall, the band's vocals are burnished and calibrated, and their
instrumental interaction provides a model of competence and
intelligence.
As a band, The Circuit Riders evolved from former members of the last
version of The Country Gentlemen with Charlie Waller prior to his
passing. While Randy Waller has reorganized The Country Gentlemen,
former members Greg Corbett (banjo), Darin Aldridge (mandolin), and
Billy Gee (bass) formed The Circuit Riders with Greg Luck (guitar)
and Jaret Carter (resophonic guitar). Luck wrote "Lonesome Wind" and
"The Fall" for this album. Aldridge penned "Seeds of Doubt" and "Ten
Years."
Lead vocalists are mainly sung by Luck or Aldridge, but Carter
delivers them on "Take Me Back to Old Kentucky." Carter's "Pickett's
Charge" is a smoldering instrumental inspired by a famous Civil War
battle. Another classic instrumental, "Foggy Mountain Special,"
clearly shows that Corbett has cut his teeth on the picking of Earl
Scruggs, and he also shows that he has mastered the technique for
rolling triplets too.
Greg Luck has played with such groups as Redwing, Lost & Found, Bass
Mountain Boys, Lynn Morris Band, Bluegrass Cardinals, J.D. Crowe &
the New South, and IIIrd Tyme Out. Not just a solid guitarist, he
contributes some elegant fiddling on two cuts on this project, "Mama
What Does Heaven Look Like There?" and "Pickett's Charge." After
playing with his family band and New Vintage, North Carolinian Greg
Corbett spent 13 years as a Country Gentleman. In 1996, he took home
the SPBGMA Banjo Player of the Year award. Darin Aldridge has
experience playing music in various genres (country, jazz, folk,
rock) and was with The Country Gentlemen for seven years. Listen to
how he embellishes Luck's "The Fall" with bouzouki and mandola. Darin
has also released a solo album, "Call It A Day" on the Pinecastle
label. Jaret Carter also has experience playing country-rock, jazz
and blues, and he gives about 50 private music lessons each week.
Billy Gee was born and raised in La Plata, Md. but currently lives in
North Carolina where he operates a guitar repair business. On this
album, Wes Powers plays percussion on two cuts. "Let the Ride Begin"
is a very convincing entree from The Circuit Riders. (Joe Ross)
CROSS-EYED ROSIE -
Adjusted
UOR-002
www.crosseyedrosie.com
Playing Time - 42:18
Achieving success as a band is as much about attitude as it is about
the music itself. With their second album, "Adjusted," band members
of Oregon-based Cross-Eyed Rosie show that they have the right
disposition about music being an important and satisfying part of
their lives. Fully engaged in both traditional and original songs,
Cross-Eyed Rosie¹s collective energy is productive, and you could say
that the quintet is getting well-adjusted. The seed for the band¹s
formation was planted when friends started jamming weekly at a coffee
shop, and it¹s well documented that caffeine and crowds help with
attitude adjustment too. Throw in the frenetic energy of "Moonbeams &
Kerosene," along with some "Wheatfield," "Cowboy," and "Little
Switzerland," and you¹ve got a surefire recipe for a progressive
bluegrass buzz. They¹ve also balanced their set by including some
instrumentals such as "Sophie's Reel."
Working to make the music as fun as possible for all, their
uniqueness draws from the varied backgrounds of the band members.
After Zoe Kaplan left the group in 2005, they had to regroup a bit.
The band now includes Allison Longstreth (lead vocals), Lincoln
Crockett (lead vocals, mandolin), Ellie Holzemer (fiddle, vocals),
Jon Ostrom (guitar), and Jason Mellow (bass, vocals). Guests Erik
Yates and Dale Adkins provide banjo on two cuts. Band members have a
number of musical aspirations. With classical voice training, Allison
has Kentucky roots and dreams of a musical career. Lincoln wants to
perform more solo shows around Portland. Jon handles booking for the
band, and he'd like to see even more gigs roll in for Cross-Eyed
Rosie. Ellie hopes to someday be mistaken for Laurie Lewis or Alison
Krauss. From Pennsylvania, Jason has spent the last decade building a
fulfilling lifestyle in Oregon that balances music and family
commitments.
Probably learned from Iris Dement's rendition of "I Don't Want to Get
Adjusted," Longstreth sings about getting to a better home sooner or
later. In a similar vein, I encourage Cross-Eyed Rosie to persevere
and not grow old and weary. In "Great High Mountain," the band sings
"The higher I got the harder I climbed, I'm still climbing upward Š"
Hard work, determination and a little musical tightening will bring
Cross-Eyed Rosie even greater success. While their music is building
them a legion of young, exuberant fans, they just need to keep
telling themselves that they are outstanding people capable of
achieving their lofty goals. They don't need to settle for being
runner up for Best Local Band in Willamette Week's Readers Poll. And,
if they go to Telluride again, I hope they enter and win the band
contest there. I admire Cross-Eyed Rosie for their positive and
upbeat music that is full of optimism and cheerfulness. They have
planted plenty of seeds for growth and opportunity. Remember, music
is better when you have a good attitude. Already well above the
mediocrity that marks many young bands, Cross-Eyed Rosie is climbing
the musical ladder to magnificence. They have the tools. While this
is a strong outing, look for them to reach even higher and get even
better "adjusted" on future albums. (Joe Ross)
MIKE MARSHALL & HAMILTON DE HOLANDA -
New Words Novas Palavras
Adventure Music AM-1029-2
mcamillo@ix.netcom.com
Playing Time - 1:04:44 (CD)
To call their duo album "New Words" is very indicative of the
creative cross-cultural musical conversations that Mike Marshall and
Hamilton de Holanda engage in during this generous hour-long set.
There are some pieces that start with whispering sentiments ("Valsa
em Si"), while others convey much more heated and fiery exchanges
("Desvairada"). With a healthy portion of five original pieces
(Egypt, Ham & Mike, New Words, Pra Sempre, Valsa em Si), this album
also illustrates the exceptional songwriting abilities of the pair.
Mike Marshall's innovative playing has been well-documented in the
past with such bands or artists as Psychograss, Chris Thile, Edgar
Meyer, Darol Anger, Jovino Santos Neto and Choro Famoso. At the 2004
Lunel, France Mandolin Festival, another artist-in-residence was
30-year-old Brazilian music master Hamilton de Holanda. The
collaborative communication of Mike's "new words', with Ham's "novas
palavras", illustrate a fluency that results in smoothly flowing,
expressive music. Why, there's even some verbal scat to close "Sao
Jorge."
Mike adeptly plays mandolin on all but three tracks where he picks
mandocello or tenor guitar to convey different moods. Hamilton plays
the 10-string bandolim except on three tracks where he picks Irish
bouzouki. Without any low end or percussion in the mix, it's hard to
say how radio-friendly the dialogue is, and that may discourage some
DJs from spinning such a disc. However, in such an artist collaboration, the sparsity of sound actually provides much of its
spark. It allows us to focus on the masters bantering and hear all
the new words clearly. Take "Ham & Mike," for example, with the two
voices having a rather sparkling discussion. It was perfect
motivational background music for a busy day at work. At times, there
are so many words (notes) being exchanged, that the conversations
become a tad difficult to comprehend. The sheer extent of this body
of music, that also includes a 3-track DVD recorded at the 2005
Savannah Music Festival, is somewhat mind-boggling. Being a good
listener will allow you to appreciate how a standard fiddle tune like
"Blackberry Blossom" can segue into Ernesto Nazareth's classic choro
"Apanhei-te Cavaquinho." It's a small world now, and taking a trip
from Appalachia to Brazil is not that hard to fathom. But then throw
in stops along the way in Mike Marshall's "Egypt," Bela Fleck's "Big
Country," or on the beautiful Azorean island of "Sao Jorge," and
you'll appreciate both the worldy and wordy aspects of this album's
healthy musical and innovative discourse. (Joe Ross)
ELLIS PAUL -
Essentials
Philo 11671-1250-2
One Camp Street, Cambridge, MA. 02140
Info@rounder.com
www.rounder.com
Playing Time - 1:16:46 (CD#1), 1:07:30 (CD#2)
Wow, what a body of material to get an historical overview of Ellis
Paul' songwriting for the past twenty years. He has many many kinds
of songs over the years - folk, love, pop, story, rock, and even
novelty songs. This 2-CD set with nearly two and one-half hours of
music deserves close listening and analysis of melodies, lyrics,
messages, and arrangements. He's worked with seven producers over the
years and many more musicians.
Paul attributes "Conversation With A Ghost" (released in
1992) as the first song that brought people out to the clubs of
Boston to hear him play. Folksinger Bill Morrissey was producing his
music back then. Most recently in 2006, his "American Jukebox Fables"
album was produced by Flynn, and there are several cuts from that
project on this compilation. There is some previously unreleased
material on "Essentials" too, including some live material from some
2006 shows in Mass. and Maine. Reviewing this project a week before
Christmas, I especially enjoyed "Snow in Austin," a Texas Christmas
song. Another unreleased song was an attention-grabber entitled
"Welcome Home To Maine," a writing assignment about his birthplace
and its features for the Maine Governor. John Jennings produced some
of the newest material for "Essentials" with The Best of Band that
included Paul and Jennings, along with J. T. Brown, Dave Mattacks,
Don Conoscenti, and Rachel Davis contributing background vocals on
one cut.
From the stock of Maine potato farmers, Ellis Paul
moved to Boston, studied music, connected with the roots of
the folk genre, then proceeded to develop a signature
singer/songwriter sound that now incorporates pop, rock and
contemporary sensibilities. Ellis Paul's wise perceptiveness and
charisma have built him a strong fan base. He's also a hardworking,
resilient touring artist who has garnered numerous awards for ten
album releases and music, some of which has been featured in
soundtracks for the films, Shallow Hal and Me, Myself, & Irene.
Ellis' voice has much character, and his songs understand
the bond between land, life, heart and soul. Most are slower to
moderate tempo'ed, and Ellis does particular well creating an
intimate and familiar feeling with some songs. Keyboards and
percussion provide the primary instrumental excitement that serve to
increase the emotional impact of his later material. I would've
enjoyed more vocal harmony in his arrangements.
Ellis possesses all the fundamental elements for success as
a singer/songwriter. His messages are profound, and they make us
think. For example, "Home" (from the American Jukebox Fables album)
is a lover's tribute with the "house being just an address, you're my
home." "Jukebox on my Grave" leaves us with his simple wish to mark
the music man's ultimate resting place. His influences are many --
Bob Dylan, Joni Mitchell, Marvin Gaye, Johnny Cash, George Jones,
Rolling Stones, Hank Williams, Buddy Holly, Patty Griffin and others.
Interesting that "Essentials" tips his hat to Woody Guthrie tribute
artists and even Woody himself "in a sense." Ellis Paul's
imagination and skill are both polished and fanciful all in one. He is a masterful singer/songwriter. (Joe Ross)
EMMONS SISTERS -
Possibilities
No label, no number
http://www.theemmonssisters.com/
Playing Time - 51:07
Tomorrow's acoustic music is certainly in good hands with a group
like the Oregon-based Emmons Sisters. When I first saw them perform
at the 2006 Siskiyou Bluegrass Festival at Lake Selmac, Oregon, I
thought to myself, "Wow! What charisma, stage presence, and talent!"
I'm so glad that they've landed a gig at the 2007 Oregon Bluegrass
Assn. Gospel Show in Roseburg. It will be a great opportunity for
them to further showcase their talents. Now ranging in age from about
14-20, the four Emmons Sisters are demonstrating their growing
proficiency on guitar, mandolin, banjo, fiddle, bass and vocals.
"Possibilities" is their third album and was recorded in 2004. The
primary songwriter and lead vocalist of the bunch is Christina, and
she tends to write in an introspective manner about her feelings,
desires, memories, and love of God. Closer to singer/songwriter folk
music than bluegrass, "Possibilities" will open some doors for the
sisters Christina, Victoria, Natalie and Stephanie. Their songs'
melodies, tempos, and arrangements suffer from some similarity, but
you should certainly pick up a copy of this album. They deserve our
support, encouragement, nurturing to fully achieve their great
potential. I'm certain that their best is yet to come. (Joe Ross)
EMMONS SISTERS -
Turning Point
No label, no number
http://www.theemmonssisters.com/
Playing Time - 40:18
Since their 2004 release of "Possibilities," the Oregon-based Emmons
Sisters have gravitated even closer to the bluegrass idiom on their
fourth album put out in 2006 called "Turning Point." The liner notes
begin with a strong declaration of "Bluegrass is true music, and
we've grown to love it!" Their collaborative original, "Here To Stay"
includes lyrics like "People ask why we play like we do. So fast, it
takes away the blues. Bluegrass music, with its lonesome sound. Just
like it, we're here to stay." The girls only range in age from 14-20,
and they exhibit a musical maturity well beyond your normal teenaged
siblings today that may be more tuned into television, video games,
or sports. The Emmons Sisters didn't even start performing as a band
until about 2001. Their original songs incorporate standard bluegrass
instruments, although the banjo is relegated to a minor role. Their
energetic style has a typical formula that incorporates all of them
singing in a carefully calibrated manner. While Christina did most of
the songwriting and lead singing on their last album, "Turning Point"
clearly shows the increased role that Victoria is playing in those
areas. On two cuts ("Here To Stay" and "Lullaby"), Stephanie sings
lead. Some eclectic variety is imparted to this album with two
instrumentals, "Dragonflies"' and "Braeden in the Briar."
The Emmons Sisters ask thoughtful questions in a number of their
songs. All four girls share lead vocals in "Joshua," about a friend
stricken with cancer, and they inquire "would I be as brave as he?"
In an arrangement that just has Christina singing, "Scarlet Sins"
asks questions of a different nature such as "where were you when He
felt pain, abandonment and shame?" The primary uncertainty of
"Waiting is All We Have" revolves around knowing that everything is
always in His perfect timing. Their title cut provides guidance when
you fall down, when you break. The Emmons' inquisitive nature is one
that translates easily to their singer/songwriter approach to
acoustic music. They have some heart-tugging tributes like "Tell The
Whole World" that could become the signature piece to symbolize their
ministry. An a cappella "Glory Land" sings joyously onto the Lord,
and the liner notes indicate it was arranged in the back seat of
their family's car while enroute to Bible study each week. These
talented, mountain songbirds kick up their heels, have some plain ol'
fun, and reverently assume devout tones on this album that radiates
with youthful exuberance, optimism and love of God. (Joe Ross)
SILVERBIRCH -
Out On A Limb
No label, No number
www.bluegrasscoot.com
BluegrassCoot@aol.com
Tel. 705-228-8426
Playing Time - 33:33
Until recently making the acquaintance of Tom "Ol' Coot" McCreight,
I'd never had the pleasure of hearing Silverbirch, a fine bluegrass
band based in Ontario, Canada. Their 2005 album's title, "Out On A
Limb," represents the risk they took releasing an album of 100%
all-original material. Their handpicked sound indicates that Ontario
provides a fertile field for soulful bluegrass. Some of their own
tunes work better than others, and I took an immediate liking to the
up-tempo "I Don't Miss You" and evocative "Red Creek Hill." It
would've been nice if each songwriter provided a few sentences about
their inspiration for each song. With its pro-environment message, I
presume "Red Creek Hill" speaks to the potential environmental damage
due to the $220 million Red Hill Creek Expressway's construction
through 2007 that will primarily benefit long-distance truckers and
land developers on Hamilton Mountain. As they sing, "you won't hear
the Red Hill Creek playing its song," I found it heartwarming that
they were able to voice a position and take a stance about a
controversial regional issue such as this in their Ontario region.
Some of their other songs are just too generic to make much impact,
but their two instrumentals ("Chance of Rain" and "Stomp") are
excellent toe-tapping showcases, particularly for the driving banjo
of Stefan VanHolten. The rest of the group includes Doug
Moerschfelder (guitar), Gene Gouthro (mandolin), and Tom McCreight
(bass). While no one stands out as an exceptional lead singer, Doug,
Gene and Stefan share the honors. This tells me that they are working
cohesively as a team, and everyone is contributing productively to
the band's collective presentation. "Follow the Son" and "The
Pathway's End" are gospel songs that serve both the music and their
messages. When they record again, a hot guest fiddler or Dobro-player
would enhance some of their material that has a traditionally-derived
bluegrass cornerstone. (Joe Ross)
VARIOUS ARTISTS -
North To Ontario
No label, No number
www.bluegrasscoot.com
GMandogene@aol.com OR BluegrassCoot@aol.com
Tel. 705-435-1872 OR 705-228-8426
Playing Time - 1:03:46
I wish that every State, Region, Country throughout the world would
produce hour-long compilation samplers of their local bands. What a
great way to get acquainted! The Canadian Province of Ontario has
proven to be a hotbed of musical activity where folks have supported
such collaborative ventures such as Jordy Sharp's "Orchard Sessions"
and Tony deBoer's "A Touch of Canada." Thus, guitarist/singer Gene
Gouthro and bassist Tom McCreight decided it was time for a strong
sampler of Ontario's bluegrass music. Gene, in fact, wrote the title
cut which appears at track #7 of the twenty songs on this ambitious
project. On his 2003 motorcycle trip south to the Blueridge
Mountains, Gouthro realized how much his friends, family and home in
Ontario meant to him.
All told, eighty musicians were involved in the making of "North to
Ontario." Every one of the songs is 100% Canadian original, and we
even get to hear the songwriters as part of the bands in every case
but one (Melissa Sherman's opening cut, "Deal the Cards" performed by
Hard Ryde). Throughout the album, we hear many of the winners of the
annual Central Canadian Bluegrass Awards presented each year in
November by the Northern Bluegrass Committee. One example is
Foxtail's tenor singer, Nora Galloway, who has won Best Female
Vocalist in 2005 and 2006. Perhaps the best-known musician in the set
is multi-instrumentalist Emory Lester who plays all instruments in a collaboration with guitarist/singer Laura Bird to close the album
with Bird's "Heavy Load." Lester also plays mandolin with The Project
Band's title cut.
This album has sounds based in tradition. Some lead vocals and
instrumental work is stronger than others, but that is to be
expected. There are plenty of smooth harmonies. There are bands that
sound very entertaining. For it sheer variety, it makes sense that
this album was named "Recording of the Year." Many of the featured
bands can be seen live each year at such festivals as the River
Valley Bluegrass Jamboree in August. Contact information and website
links are also provided for all of the eclectic bands on "North to
Ontario." For a great overview of Ontario Œgrass, this album is just
the ticket. Ontario may have awe-inspiring natural wonders, but the
region is also building a reputation for some phenomenal bluegrass
music too. (Joe Ross)
DUHKS -
Migrations
Playing Time - 39:38
The Duhks' progressive "neo-folk" or "cerebral folk" music is best
described as highly-arranged folk and Americana that draws
inspiration from various genres such as old time string band, Celtic,
soul, gospel, folk, and zydeco. The band was nominated for the 2005
Emerging Artist of the Year Award by the Americana Music Association.
"Migrations" has about 2/3 of the music that their self-titled 2005
album did, but you'll find that the 11 tracks and 16-page CD jacket
don't leave us feeling short-changed. In fact, the project took home
the 2006 Juno Award for Roots & Traditional Album of the Year in the
Group category.
Hailing from Winnipeg, the quintet likes to invite a few guest
artists into their mix; in this case, Tim O'Brien (5 tracks), Luke
Bulla (1 track), and Katie Herzig (1 track). "Migrations" were
produced by Gary Paczosa and Tim O'Brien who suggested songs,
contributed additional lyrics, and even played or sang along in Tim's
case. In keeping with their successful personalized sound, we hear
well-crafted, creative songs with soul-stirring vocals and striking
guitar, banjo, bass, fiddle and percussion. Low whistle and Uilleann
pipes also appear in their kettle of sound. Three of the five Duhks
provide vocals, both lead and harmonies. Whether covering Tracy
Chapman's "Mountains O'Things" or serving up a Zydeco-flavored "Down
to the River," they manage to find some novel material to infuse with
their stamp. Tracy's song, of course, encourages us to "renounce all
those material things" to save our souls. An instrumental medley of
two originals with a Cape Breton tune illustrates how The Duhks blend
tradition with their own individuality. Repertoire is also drawn from
African-American spirituals (Turtle Dove, Moses Don't Get Lost) and
Celtic-flared instrumentals (Three Fishers, The Fox And The Bee).
The band's affinity for reflective ballads with poignant lyrics
capitalize on Havey's plaintive vocalizing (Heaven's My Home, Who
Will Take My Place, Out of the Rain) to round out the set. "Heaven's
My Home" provides a subtle vision for cautious optimism in a life
full of trials, travails and adversity. "Who Will Take My Place?" was
written by Dan Frechette about the Irish patriot Michael Collins but
has more universal application for anyone fighting oppression. Penned
by Jessee Havey, "Out of the Rain" provides sunny direction "far from
the pain of being tied to your back door."
The Duhks' are Scott Senior (percussion), Jessee Havey (vocals),
Leonard Podolak (banjo, fiddle), Tania Elizabeth (fiddle, mandolin),
and Jordan McConnell (guitar, whistle, pipes). Creative artistry is
built around an ability to free one's own muse. The Duhks' approach
allows for personal expression without belittling the very traditions
that they're stretching. This successful and impressive effort was
done right and with abundant rewards. Before reinventing tradition,
The Duhks have obviously lived and breathed the tradition itself by
knowing, respecting, and appreciating the natural graces and flowing
rhythms of Celtic and folk music. It's an amazing feat for these
twenty-somethings. With this strong foundation, The Duhks then
incorporate their own life experience to arrange and create a
signature sound. The musicians' sensory journey takes us along with
joy, sorrow, inspiration, and even occasional humor.
Whether serving up a beautiful, spiritual ballad or a rousing medley
of reels, they manage to make each a part of greater Duhkville. With
impressionistic and memorable material, this album continues
presentation of The Duhks' earthy. Their music conveys an
understanding of the bond between land and soul. Their compelling
performance is one wrought with the emotional impact and virtuosity
of soulful vocals, slapped skins, wailing fiddle, flowing guitar, and
bouyant banjo. With a band vision to redefine both folk and pop
music, The Duhks are well on their way to doing it with their
acoustic tools of the trade. Thnks for not not relying on any
electric instruments, synthesizers or drum machines. (Joe Ross,
Roseburg, OR.)
THE GRASS SERIES (15 CDs)
Synergy Entertainment
1747 First Ave. 3rd Floor, New York, NY 10128
www.grassseries.com OR www.pleasekeeponthegrass.com OR
www.synergyent.com
Phone 212-369-2554 OR 888-387-6249
EMAIL paul.schulman2@verizon.net
What an ambitious project from a new kid on the bluegrass block,
two-year-old Synergy Entertainment in New York! The Grass Series
boasts a total collection of 15 albums that tapped professional
Nashville-based artists to cover music from other genres. Produced by
Donald Marrow, their intent is to present rock, pop, gospel and kid's
music in an acoustic bluegrass format. I recommend starting with the
"Best Œuv Grass" 14-song sampler (just over 40 minutes) that has
hand-picked favorite tracks from each album in the collection.
The "Grassmasters" hired for the session work have some impressive
talent. There are also a few pickers who could've been more
proficient in the bluegrass idiom. Tommy White (Dobro) is a master
musician who appears on all 15 albums. On a majority are Billy
Hullett (guitars), Tammy Rogers (fiddle, mandolin), Hoot Hester
(fiddle, mandolin), Fred Newell (mandolin), Vic Jordan (banjo),
Daniel O'Lannerghty or Charlie Chadwick (bass). Andrea Zonn fiddles
on a third of them, and she provides some short-lived smooth
vocalizing on two albums. Where there are multiple players of the
same instrument or various vocalists, liner notes don't clearly
indicate who is on what cut. Every once in awhile, the moon and stars
align and a few special renditions jump out at you. More often,
however, the goal of producing a large volume of material in a short
period of time seems to have led to problematic issues with
arrangement, instrumentation, or presentation. Occasionally sounding
contrived and formulaic, the music loses some of its bluegrass
spirit, energy and passion.
The earlier releases (StonesGrass, BeatlesGrass, EaglesGrass and
FleetwoodGrass) have no vocals. These four (as well as AeroGrass)
also include Bob Mater's drums. He's steady, but bluegrass
aficionados may want this primarily instrumental music without
percussion and just let the mandolin chop the backbeat. BeatlesGrass
could've used some stronger banjo work. Interestingly, liner notes
don't provide a credit for the banjo in the mix of the DeadGrass
project. Most likely Vic Jordan, he must've been forgotten that day.
With the exception of the 15-song KidsGrass and 14-song Best'uvGrass,
the other CDs each offer twelve selections. The albums range from a
low of 28 minutes (ElvisGrass) to nearly 49 minutes (EaglesGrass).
While the former includes some refrains courtesy of The Jordanaires,
song arrangements are short and typically only about two minutes
apiece. The latter has a number of 4- and 5-minute renditions of
Eagles tunes, but there are no vocals. Where's the happy medium that
provides for thoughtful, creative arrangements with both instrumental
and vocal prowess? With their slogan of "Please Keep on the Grass,"
this series is worth checking out if you're in search of passable
instrumental bluegrass covers of the material. If you're into
karaoke, it's fun to sing with bluegrass accompaniment. I commend
Synergy Entertainment for realizing the market potential associated
with bluegrass musicians tapping material from other genres. We can
expect better and better music from them as they work out a few bugs,
establish their reputation, and develop stronger credibility. (Joe
Ross)
Comparing The Grass Series to the CMH Label's "Pickin' On" Series, it
appears that the former stays closer to a traditional bluegrass sound
with no electric instruments, and little percussion as noted above.
Also, the "Pickin' On" series features musicians from a greater
geographic area than just Nashville. Their consistency in quality may
be more variable whereas the "Grass Series" has a constant of the
same producer and core group of top Nashville session musicians (with
special guests as needed for each production's specific needs).
All things considered, here are a few observations on this specific
album, only one in the entire 15-CD Grass Series:
Best Œuv Grass
(Playing Time 40:03) -
From the opening salvo of
"We Can Work It Out" (from BeatlesGrass) to "Old MacDonald Had A
Farm" (from KidsGrass), you'll get a great tasting and overview of
the entire catalog of budget-priced albums. You'll quickly realize
that some songs you really want to hear the lyrics with have only
been arranged as instrumentals. "Salty Dog Blues" has drive but no
soulful tenor exclaiming "Now looky here Sal, I know you, run down
stockin' and a worn out shoe." A few other incorporate drums or
harmonica, in addition to the standard traditional bluegrass
instrumentation. They do fine instrumental jobs with songs like
"Dream On" (AeroGrass), "Stir It Up" (MarleyGrass), and "Take It
Easy" (EaglesGrass), but I sure miss the words. "Don't Be Cruel" and
"Teddy Bear" (ElvisGrass), "Ring of Fire" (CashGrass), and even "Old
MacDonald Had A Farm" are given rather syrupy Nashvillain renditions
that might work for karaoke singers needing some schmaltzy bluegrass
backup. When vocals do appear on the albums, they are often just
choruses. I can't quite fathom why verses were dropped, unless the
original intent was to record these songs for bluegrass karaoke
accompaniment.
KidsGrass
At 41 minutes provides 15 favorite traditional folk songs, and the five vocalists featured do a nice job serving up a set
for children. This material works bluegrass style, and they arranged
it properly for kids to sing along with!
Simon&Grassfunkel
Has 36 minutes is one of only two albums in the
series (the other being GrassRoots) that pairs up vocalists Andrea
Zonn and Darrin Vincent for two vocal offerings (e.g. "Homeward
Bound" and "The Boxer"). Paul Simon is a brilliant songcrafter, but
it was their sweet and delicate vocal harmonics that made them one of
the most successful folk/pop duos of the sixties. We'll just have to
imagine what Zonn & Vincent would have sounded like with "Bridge Over
Troubled Waters" because that big hit isn't even included.
GrassRoots
Only 32 minutes in length, and the renditions of the
12 classic war horses only span 2-3 minutes apiece. Many of the songs
we're used to as hard-driving vocal numbers (e.g. Rollin' in my Sweet
Baby's Arms, Salty Dog Blues) are only given instrumental treatment.
Andrea Zonn and Darrin Vincent sing a few but not near enough to make
this one an unqualified success. Who wants to listen to an exhausting
"Man of Constant Sorrow" without vocalizing? Without singing, the
GrassRoots songs (often with tedious I-IV-V chord progressions) sound
completely unfinished.
TaylorGrass
Runs 40 minutes, and some vocals from Clara Adams and
Darrin Vincent ("Shower The People") are complemented with top
instrumental work. This is the only album in the series that features
fiddler Andy Lewis. Because the lyrics are so important in James
Taylor's songs, this album falls short by not giving us enough
vocalizing, but don't be shy about belting out Taylor's big
commercial breakthrough, "Fire and Rain," right along with them.
James' music isn't the same without a soothing voice reflecting on
the sixties. The Grass Series would've earned top marks with a little
more forethought on how to best cover this great singer/songwriter's
material. The Grassmasters should have also considered recording some
of Taylor's other hits, "How Sweet It Is (To Be Loved By You)"
(written by Marvin Gaye) and Jimmy Jones' "Handy Man."
AeroGrass
Runs over 41 minutes with the established core group of
musicians, John Morton (guitar), and vocals by Margie Cates, Gus
Gatches, and Monty Lane Allen. The Boston rock band's biggest hits
are covered, usually without vocals. Guest Jim Hoke's harmonica and
jew's harp provide a nice flavoring, but pass on the second cut ("The
Train Kept A-Rollin'") that has too much drumming for my taste. The
bluegrassers capture the classic Aerosmith riffs, and it makes for a
playful (even humorous) outing. While the bluegrass renditions are
rather earthy, I think I'll stick with the edgy original versions
with vocals on classic-rock FM stations.
DeadGrass
At 41 minutes is the only project with Kenny Sears
sawing his fiddle, and the group is supplemented with special guests
on guitar, harmonica, bass, and dulcimer. Five vocalists provide a
touch of singing (e.g. "A Touch of Grey"). There are no extended
improvisational interludes, and the arrangements become quite
formulaic with very even meter.
VARIOUS ARTISTS -
Viva! Terlingua! Nuevo! Songs of Luckenbach Texas
Palo Duro PDR-4201
TEL. 866-PALO-DURO
www.palodurorecords.com OR www.luckenbachtexas.com OR
www.fontanadistribution.com
EMAIL: chris.thomas@palodurorecords.com
Jill McGuckin, 512.217.9404; jill@mcguckinpr.com OR Heidi Labensart,
512.478.0578; heidi@mcguckinpr.com
Playing Time - 1:07:23
1. Intro - Viva! Terlinqua! Nuevo! Songs Of Luckenbach Texas 2.
Gettin' By - The (Original) Lost Gonzo Band 3. What I Like About
Texas - Morrison-Williams 4. Backsliders Wine - Tommy Alverson 5.
Little Bird - Walt Wilkins 6. Get It Out! - Ed Burleson 7. Viva!
Luckenbach! - John Arthur Martinez 8. Luckenbach Daylight - Kent
Finlay 9. I'll Be Here In The Mornin' - Jimmy Lafave 10. Desperados
Waiting For The Train - Brian Burns 11. Wheel - The McKay Brothers
12. Sangria Wine - Two Tons Of Steel 13. London Homesick Blues - The
Derailers 14. Red Neck Mother - Cory Morrow 15. Gonzos Compadres -
Gonzos de Casa
Featuring live music seven nights a week, the 120-yer-old Luckenbach
dancehall in Fredericksburg, Texas hosted this January 19-20, 2006
live recording session with stalwarts of the Palo Duro record label.
The place specializes in parties, and a 70ish admission price of $1
was set for the 400 attendees who were lucky enough to win tickets in
a lottery (then proceeds went to Health Alliance for Austin
Musicians). This guaranteed a large, jovial, and friendly crowd for
this big event in the venue that gets its moniker and inspiration
from an old hill country town where everybody is somebody according
to Jerry Jeff Walker song "Viva! Luckenbach!"
Continuing the gonzo spirit of the Texas Outlaw music movement, this
album covers a total of seven of Walker's songs, as well as ones from
Guy Clark, Gary P. Nunn, Ray Wylie Hubbard, and Michael Murphy. This
album is a tribute to Jerry Jeff's landmark 1973 album Viva!
Terlingua! that is recognized as a seminal contribution to the then
blossoming Texas outlaw music scene. All nine of the songs that
appeared on Walker's original 1973 album have been redone on this
"nuevo" project.
More generically, this lone star twang and attitude today are
referred to as alt-country, insurgent country, or simply Americana.
Interestingly, Jerry Jeff had not been initially consulted about this
album project, and he got lawyers involved and filed a lawsuit
claiming copyright infringement. Walker also claimed false
advertising and misappropriation of his identity.
Musicians participating included Jimmy LaFave, Cory Morrow, John
Arthur Martinez, Two Tons of Steel, Ed Burleson, Brian Burns, Gary P.
Nunn, McKay Brothers, Morrison-Williams, Walt Wilkins, Tommy and
Justin Alverson, The Derailers, and past and present members of
Gonzos de Casa. At track 8, Kent Finlay even recites a 5-minute Hondo
Crouch poem entitled "Luckenbach Daylight." Consistent with their
business plan and marketing strategy, the record label previewed the
album at the 2006 Americana Music Conference in a special Luckenbach
replica booth. Also, this is just the first in Palo Duro's Luckenbach
Texas music series that will presumably offer more hour-long live
samplers from the dancehall, the objective being to honor the
historical significance of the tiny town west of Austin where many a
musical career was launched.
If you're looking for some "Nuevo!" Texas country music in the spirit
of Luckenbach, this album is worth checking out even though it's a
tad loose in spots. It's still a fun ride! As a result of the pending
litigation, all commercial distribution of the album was suspended.
However, the Palo Duro record label intends to aggressively pursue
its right to distribute the album. Let's hope the lawsuit is resolved
in a timely manner so that this and future albums in the series can
reach our CD players soon. Especially if your mind keeps roamin', and
your heart keeps longin' to be home in a Texas bar. (Joe Ross)
CADILLAC SKY -
Blind Man Walking
Skaggs Family 6989020172
KissyBlack@LotosNile.com
www.myspace.com/cadillacsky OR cadillacsky.net
Playing Time - 53:51
Record execs are always in search of the next big act to create a
tsunami in the fairly stodgy and conservative bluegrass community.
Ricky Skaggs heard Cadillac Sky and has decided to take a chance on
them and their fresh, progressive brand of bluegrass. Penning all of
their own material, C-Sky clearly has some country, Celtic and even
rock influences. Only in existence since late-2002, the band doesn't
have a long-tenured track record of success, but it's very likely
that their supercharged vocals and novel sound will touch a nerve
with younger listeners. At least, Skaggs thinks so. What he probably
heard was their ability to be both precise and reckless, controlled
but spontaneous, happy yet lonesome, in other words, the perfect
ingredients for a young, unique bluegrass group. I think you'll agree
with me. They're a kick if prog-grass is your bag.
Bryan Simpson plays a pivotal role in the band's songwriting, lead
singing, and mandolin playing. Simpson's songs have been recorded by
George Strait, Martina McBride, Gretchen Wilson, Diamond Rio, Jo Dee
Messina, Neal McCoy, and Kenny Rogers. He even bows fiddle on one
track, "Never Been So Blue." The other stellar band members are Mike
Jump (guitar, vocals), Matt Menefee (banjo), Ross Holmes (fiddle,
vocals), and Matt Blaize (bass, vocals). National championship fiddle
and banjo wins at Winfield, Kansas only add to the mystery and
romanticism of this group.
The band's creativity and wild, boyish exuberance are a product of
their familiarity with traditional bluegrass. In the CD jacket, one
photo shows Simpson proudly displaying his Monroe T-shirt. This
13-song debut is certain to draw comparisons to the ground-breaking
directions of Nickel Creek, New Grass Revival, Sam Bush, Jerry
Douglas, and others. It's important that bands follow their inner
muse. If band members can all share a common vision and have fun
together while they're collaboratively moving ahead, then we'll have
a strong purpose-driven group like C-Sky, what a fantastic futuristic
name for such a band. But even if they're "mountain boys" at heart,
they're motivated and eager to solidify their own musical persona.
Already with this 13-song debut, I can tell you that it's
characterized by considerable talent, maturity, and charisma.
National press coverage, widespread airplay, extensive touring, a
record contract, and a 2004 showcase at the IBMA World of Bluegrass
Trade Show have people talking about an innovative progressive
band that's easy to embrace. They're not out to reform bluegrass
music but merely nudge it into the new century. They know about the
lonesome soul of the genre, and in "Never Been So Blue" they eulogize
Bill Monroe with "the twin fiddles play and the whippoorwill sings,
the bluegrass has never been so blue." Do you think they included
this song, respectful of his music and legacy, just to appease those
staunch traditionalists who think C-Sky is blasphemous? I doubt it.
And thanks guys for not including percussion in the mixŠyou don't
need it. Sonya Isaacs' guest vocals on "Homesick Blues" are a nice
touch, as is Kenneth Soper's didgereedoo on the title cut. When asked
a standard canned interview question once about their influences, the
band's reply was something to the effect that their music is just
something that feels necessary. If the bluegrass genre is going to
continue to grow and prosper with younger folks, then I think you'll
understand that C-Sky is on somewhat of a mission to fulfill a
purpose and need. (Joe Ross)
STAY TUNED -
Self-titled
TUN-001
EMAIL petekbcs@hotmail.com OR 1terryobrien@comcast.net
www.staytunedbluegrass.com OR cdbaby.com/cd/staytunedmusic
Playing Time - 53:21
Adjust your receivers to the remote frequencies on station BGRS to
hear Stay Tuned's new self-titled album debut. Except for the
spiritual "Leaning on the Everlasting Arms," the tuneful songs (16
total) were written by the band members. From the state of
Washington, Stay Tuned is characteristic of many Pacific Northwest
groups - they incorporate a wide variety of regional themes and
multi-genre influences from bluegrass, folk, country and western
swing into their own original music. Acknowledging that they are more
than just another bluegrass band, they prefer to be known for their
"refreshing original acoustic music." Although not born and raised in
Appalachia, they embrace bluegrass instrumentation for their joyful
and affable presentation. In fact, this quartet's members took rather
circuitous routes to their current beguiling music.
Alan Ehrlich (banjo, vocals) grew up in New York City and sang do-wop
music in high school before heading westward to California, Colorado
and Washington where he joined up with the band, Rainy Pass. He wrote
six of the songs on this project, and his "Highway 99" tells an
interesting swinging travelogue about stepping back in time the
Alaska Way Viaduct. Fiddler Paul Elliott appears as a guest, and a
few more songs on Stay Tuned's first album could've used that (or
some Dobro) instrumental embellishment. Mandolinist/singer Pete
Goodall was born in southern California, and I presume that his
career in information technology brought him to the northwest. He
hosts the "Bluegrass Ramble" weekly radio show on KBCS in Seattle.
Pete wrote or co-wrote eight numbers on the CD. It's bad enough to be
left all alone, but in "My New Roommate is the Blues," Pete
humorously says how she left - with an e-mail addressed "to whom it
may concern." High school teacher Terry O'Brien (guitar, mandolin,
vocals) grew up in Seattle, played electric in high school, but has
gravitated back to acoustic music. Inspired by the scenic beauty in
their neck of the woods, "Deception Pass" is a crafty instrumental
with dawg music overtones. Another native northwesterner, bassist
Mary Sackmann has played piano, picked guitar, sang in choirs, and
performed in an all-women band. Usually in more of a support role,
Mary sings lead on three songs on the album.
While this band doesn't have any knockout singers, they still offer
up plenty of sheer creative audacity in a sparkling and friendly
manner. In their down-home manner, mere enthusiasm enhances their
appeal. At community events and regional festivals, they'd be well
received. They epitomize some of the tantalizing bluegrass foundation
of the northwest. And how can you not enjoy their enlightened
original perspectives and comic expressions of affirmative spirit? A
takeoff on "Pig in a Pen," their rendition of "Pig in a Can" sounds
more like Bill Monroe meets Cab Calloway. They should plug some of
these songs to big names looking for new cheery material. (Joe Ross)
VALERIE SMITH & LIBERTY PIKE -
Wash Away Your Troubles
Bell Buckle Records BBR-018
www.valeriesmithonline.com
EMAIL urban-smith@charter.net OR bellbuckle@cafes.net
Playing time - 32:20
SONGS - The Rain, Music To My Ears, Blossoms On The Almond Tree,
Wings To Fly, Soul Phone, Getting Ready For Sunday, Seeds, My Jesus,
God's Refrigerator, Make Him A Soldier, Raise The River
Missouri-based Valerie Smith's fourth album, "Wash Away Your
Troubles" is a set of electrifying highly original gospel-infused
acoustic music. Smith sings with distinctive panache, and she goes
with material from respected songcrafters who have given her winning
compositions in the past -- Becky Buller, Lisa Aschmann and Mark
Simos. They also cover a Louvin Brothers favorite, "Make Him A
Soldier," Claire Lynch and Cindy Greene's "Wings To Fly", and Sarah
Majors' "Soul Phone." Impressed by Valerie's work ethic and
determination, this album was produced by Alan O'Bryant.
Valerie Smith and Liberty Pike were nominated for IBMA's Emerging
Artist Awards of 1999 and 2000. She's also been recognized by midwest
bluegrass fans when nominated as SPBGMA's "Traditional Bluegrass
Female Vocalist of the Year" award in 1998, 1999, 2001 and 2002.
"Wash Away Your Troubles" features Liberty Pike's current lineup --
Becky Buller (fiddle, viola, clawhammer banjo, vocals), Casey Grimes
(bass, vocals), and Jonathan Maness (guitar, mandolin, vocals). On
2-3 tracks apiece, guests include Mike Compton (mandolin), Aaron
Jackson (guitar), Matt Leadbetter (resophonic guitar, vocals), and
Alan O'Bryant (banjo).
The group elegantly assumes a devout tone on songs where the messages
are paramount. Although not uploaded yet, lyrics will soon be online
at ValerieSmithOnline.com. "Wash away your troubles, wash away your
pain" is the opening salvo in "The Rain." The set then progresses
through some first pew music before elegantly closing with the
refrain, "Lead us to your ocean, make us into water" to epitomize the
band's love and praise of God.
Songwriting is both art and craft. Becky Buller had a hand in four
composing songs on this CD, and she knows how to cultivate her
creative ideas into blossoming works. With her lively old-time banjo,
"Getting Ready for Sunday," for example, is a call for each and every
heart to prepare and make time for church. Only about six years ago
(2001), Becky won the bluegrass category of the prestigious Chris
Austin Songwriting Contest at MerleFest in Wilksboro, N.C. She's
starting to see more and more bluegrass groups covering her
expressive material.
Five songs on this project exhibit the stylistic writing of
Nashville-based Lisa Aschmann who has written thousands of songs in
many genres, with more than 300 covered by country, bluegrass and
acoustic artists. Lisa's perspectives, often in collaboration with
co-writer Mark Simos or others, show innovation ("God's
Refrigerator"), spirituality ("Music To My Ears"), and revelation
("Blossoms on the Almond Tree"). Much in the same manner that her
songs take root and flourish, a song like "Seeds" asks a simple
folksy question to guide one's journey in life that will hopefully
result in an individual finding meaning, purpose and salvation.
Claire Lynch's alluring song also offers an encouraging message to
persevere "I will walk Œtil I have wings to fly."
There is excellent talent on this album, and the band presents some
wonderful new material in spare settings that encourage intimacy with
the lyrics. Valerie's direct messages reflect the eclectic sounds,
influences, and textures of her Midwest home. With country, folk and
bluegrass components, one primary goal of her music is to connect us
all as human beings and relate evocative and inspirational messages
from the depths of her heart and soul. (Joe Ross)
BRESSLER BROTHERS -
40 Years of Memories and Grass
Shan-Co-Mo Records 9001
Alvin Bressler, HCR-2, Box 38K, Eminence, MO. 65466
Bresslers@hotmail.com
Playing Time - 33:09
BRESSLER BROTHERS -
Taste of Life
Shan-Co-Mo Records 7001
Alvin Bressler, HCR-2, Box 38K, Eminence, MO. 65466
Bresslers@hotmail.com
Playing Time - 36:18
Hailing from Eminence, Missouri, Andy and Alvin Bressler began their
semi-pro musical career in 1965 when the Current River Opry began
weekly shows. Their music is new bluegrass and gospel presented in a
traditional style. Andy is a guitarist, and Alvin sings both lead and
tenor vocals. Their albums also feature Alvin's two sons, Scott (bass
vocals) and Bruce (guitar, baritone vocals). They take new fresh
songs from Missouri songwriters and enlist the help of Bobby Clark
(mandolin), Blake Williams (banjo, bass), and Arkansas fiddle champ
Tim Crouch who even lays some twin fiddles into the mix on occasion.
Previous albums have featured Jim Buchanan or Glen Duncan on fiddle.
As always, The Bresslers give us uplifting albums of
traditionally-inspired bluegrass from the Ozarks.
The four Bresslers don't seem to strive for a driving high, lonesome
sound. Rather, their solid bluegrass twang includes some low-key and
down-home folky earthiness on a well-crafted collection. Certainly,
some songs work better than others in such a large body of material.
Their high level of musical output in recent years doesn't seem to be
impacting the consistent quality or intent of their albums.
Repertoire is drawn from the pens of Darren Haverstick, Joy Gail Cox,
Harlin Howerton, Frances Simpson, Leona Williams, James McDonugh, and
Vernon & Virginia Long. Both art and craft, good songwriting requires
the careful cultivation of idea seeds to express evocative messages.
They cover common themes that we can all relate to - love of God,
family, home and bluegrass music.
I always enjoy hearing bands sing about their own region
("Missouri"), and my ears always pick up a tad at "novelty" tunes
with catchy hooks like "In That Monroe Tradition," "Breaking Out
Again," and "Seed Tick Blues." Whether you view those as hooky or
hokie may be a matter of personal perspective, but I fall into the
former category because the Bresslers sing with enough emotional
honesty to anchor their genial, good-time sound. Some other homespun
and sincere songs are "Daddy Showed Me," "The Miracle," "My Friends
Are Waiting For Me," "Next Time I See You," "You'd Better Be Ready"
and "When I Get Home." It's very earnest and affable music, but even
the song titles indicate their shortcoming - most are commonplace and
just aren't that memorable alongside all the great original
bluegrass music being written today. Written and presented in an
old-time way, one of my favorites is the _-time heartfelt tribute
"Granddaughter Remembers Grandma." Harlin Howerton also wrote
"Memories and Grass" (title cut for the one album) and "Memory and
Friends" (about the greatest treasures on earth). Lyrics are included
in the CD jackets of both projects. Liner notes in "40 Years of
Memories and Grass" are a little difficult to read easily due to
their graphic layout, while Wayne Bledsoe's notes in "Taste of Life"
are right on target.
While the Bresslers' singing may not elicit a great deal of worldwide
airplay. These albums illustrate their dedication to presenting new
original bluegrass music in a traditional vein. It's challenging to
find new songs that elicit the same sentiments as the seminal
bluegrass music of yesteryear. With these two relaxed albums, the
Bresslers show their commitment and enthusiasm. (Joe Ross)
GEORGE McCLURE -
Playboy Swing
JIP Records JIP-7007
PO BOX 70403, Nashville, TN. 37207
www.jiprecords.com
Playing Time - 46:13
George McClure's "Playboy Swing" continues his signature calling to
present contemporary western swing music that also incorporates
elements of bluegrass, big band, and even bilingual Tex-Mex border
music. George's talents are diverse and varied. Before embarking on a
fully professional music career, he studied cognitive anthropology,
business, computers, math and more. Obviously, he's a creative
right-brain type of guy who also knows how to handily apply his
aptitude and skill to playing, singing and producing music. In his
younger days, he's played Arizona and New Mexico, performed in the
pit for live theatre, and picked bluegrass and country with the Salt
River Ramblers.
Now, he's apparently in Nashville and following up on his second
successful 1999 album "Champagne Saturday" that included the likes of
Bobby Hicks, Judy Lynn, Joey Miskulin, Rick ŒL.D.' Money, Johnny B. I
kind of miss the accordion on "Playboy Swing," but George has
arranged his music with plenty of other instrumentation to
personalize his sound. Besides George's guitar, there are primarily
trumpets, saxes, drums, bass, and piano. Sadly, John Heinrich's pedal
steel only appears in William Young's "Little Miss Santa Clause" from
his repertoire recorded in 2006. The bow work of fiddlers Jon Yudkin
and Andrea Zonn is essential to this kind of material, and they all
rise to the occasion without grandstanding.
The two bonus tracks offer selections recorded in 1992 ("Mass Grass")
and 1998 "Across the Alley from the Alamo"), and they seem to
illustrate McClure's musical evolution from playing banjo in more
acoustic arrangements to the added instrumental dimensions he
presents today. Stephen George Miler's "Mass Grass" is an
instrumental with a relaxed sophistication that featured David Grier,
Mark Howard, and Terry Eldredge. "Across the Alley from the Alamo" is
a fun remake of the Bob Wills' classic, and it has Johnny Bellar's
lap steel, Bobby Hicks' fiddle, and Mark Schatz' bass in the mix.
McClure's newest material has developed more into big band and jazz
music. At track 2, an updated 2006 rendition of "Mass Grass" still
has George picking banjo, but also has grand piano, violin, bass,
drums, sax and electric guitar. The tune takes a completely different
ambiance of relaxed, good-time vibe, as does "Mood Time" with its
shimmering piano, sax and taste of banjo. McClure also remakes his
own "Champagne Saturday" (with Kathy Chiavola's background vocals)
into a grooving little number for the front-porch swing. In his
songs like "Texas Blues" and "Mis Pensamientos," George sings with
warm, affable texture. I guess that's what he refers to as
"romantico" music with tints of Mexican mariachi melodies. Jim Hoke's
wailing trumpets really fill out the score for "Día De Los Muertos
(The Matador)." McClure's music is a little enigmatic at times. For
example, why does he begin the album with a 3-minute version of
"Playboy Swing," but revisits the song with a 5-minute version
(entitled "Playboy Loop") at track 12? All in all, this CD's a
one-of-a-kind offering from a unique right-brained individual. It's
rather entertainingly off-beat. Hang loose, and enjoy it. (Joe Ross)
TODD TAYLOR -
3-FIVE-N
Pirate Records DWEG 110805
www.toddtaylorbanjoman.com OR www.toddtaylorbanjo.com OR OR
www.cdbaby.com/cd/taylortodd8
EMAIL toddtay@bellsouth.net
Playing Time - 35:38
SONGS - 1. 3-Five-N, 2. Little Bessie, 3. Rueben, 4. Bayou Bottle
Blues, 5, Miners' Night Out, 6, El Cumbachero, 7. Rocket Man, 8.
Prairie Song , 9. The Ballad of Osceola, 10. Gold Rush, 11. Orange
Blossom Special
Five-string bluegrass banjo is not an easy instrument to play. It
requires plenty of intense right hand drive with various fingerpicked
rolls, while the left hand uses such techniques as pull-offs,
hammer-ons, and string bends to embellish melodies. The innovative
Todd Taylor has it all down! Incorporating Scruggs, melodic, and
single string styles, his repertoire pays tribute to Earl Scruggs,
Bill Monroe, Ralph Stanley, John McEuen and even Elton John. Pretty
diverse influences, but not as far-reaching as on previous projects.
Taylor penned two impressive originals, "3-FIVE-N" and "Bayou Bottle
Blues," and he arranged a few others like the frenetic crowd-pleaser
"Orange Blossom Special." One can see why Todd's been nominated for a
number of Grammies. John McEuen once told me that he wants to take
the banjo into new, uncharted territory, and Taylor demonstrates his
comfort with John's "Miner's Night Out." A barn-burning rendition of
"El Cumbanchero" also appeared previously on his "Taylor Made" album.
Not sure why he includes it here again. "Prairie Song" and "Little
Bessie" feature Steve Thorpe's languorous vocals.
On stage since age 6, Taylor and his twin brother (Allen) performed
as the "Taylor Twins" with the likes of Bill Monroe, Carl Story, Roy
Acuff and others. When Todd's five-string starts smoking, look beyond
just the breakneck licks. He manages to find some stylistic footing
by establishing a groove and expanding into non-bluegrass genres
(Latin, new acoustic, and rock). While every banjo-player worth his
salt cuts his teeth on fare like Reuben, Todd's spunk makes it his
own. That's why Taylor's best material is built around his two
originals or his renderings of "El Cumbanchero" or "Rocket Man."
The band on "3-FIVE-N" comes off with even more instrumental
proficiency and a better rehearsed sound than on his "Taylor Made"
album. Primary accompanists include Bo Frazier (fiddle), Lamont Goff
(mandolin), Robert Feathers (guitar), and Mike Moody (bass). Nathan
Thorpe, Steve Thorpe, and Chuck Embry III appear to a minimal degree.
Todd shows us that he's a very daring young man with a lot of skill,
confidence, and vitality. On first listen, what may sound to an
undiscerning ear as rather frantic and frenzied picking is really
occurring in a very controlled bluegrass environment. Dare I say it
but on his next album I'd like to hear him slow down and offer a
small percentage of very evocative mood pieces - a whole Œnuther and
calmer side of the banjer! "3-FIVE-N" can be purchased at
http://www.cdbaby.com/cd/taylortodd8 (Joe Ross)
J.D. CROWE & THE NEW SOUTH -
Lefty's Old Guitar
Rounder Records 11661-0512-2
One Camp Street, Cambridge, MA 02140
www.rounder.com
Playing Time - 34:10
SONGS - Mississippi River Raft, Lefty's Old Guitar, Just Loving You,
Rovin' Gambler, In My Next Life, You Can Be A Millionaire With Me, I
Only wish You Knew, Loneliness, I'm A Hobo, Too Often Left Alone,
Blue Bonnet Lane, She Know When You're On My Mind Again
From Kentucky, J.D. Crowe began his career as a member of Mac Wiseman's band
in 1955. Thus, "Lefty's Old Guitar" is also somewhat of a half -
century celebratory milestone for J.D. After an early stint with
Jimmy Martin, he formed his own group in 1968, The Kentucky Mountain
Boys (with Doyle Lawson and Red Allen). The New South first took the
stage in 1974 with Tony Rice, Ricky Skaggs and Jerry Douglas. About
2002, Rounder Records re-released "My Home Ain't in the Hall of Fame"
(the band's seminal 1978 album). Over the years, band alumni have
included Keith Whitley, Jimmy Gaudreau, Paul Adkins, Wendy Miller,
Gene Johnson (Diamond Rio), Tony King (Brooks and Dunn), and many
others. In 1999, J.D. and The New South put out the album "Come on
Down to My World," that introduced us to Dwight McCall's singing and
mandolin playing. A year later, however, some of their bandmates left
to form another stellar group, Wildfire. That 1999 album was the
band's last studio album until "Lefty's Old Guitar" hit the mark.
Today, the award-winning banjo player's band is comprised of some
masterful pickers and singers - Dwight McCall (mandolin, vocals),
Rickey Wasson (guitar, vocals), Ron Stewart (fiddle), and Harold
Nixon (bass). Crowe, of course, also typically sings a baritone
harmony in choruses. Their vocal blends are resonant, full of joy or
sung with pathos, when needed. For their highest, lonesomest sound,
check out "She Knows When You're On My Mind Again," that lays in Cia
Cherryholmes' high baritone harmony on the very top. While Wasson
does most of the lead vocalizing on "Lefty's Old Guitar," McCall's
sumptuous high voice belts out the verses' lyrics on his own
self-penned "I Only Wish You Knew," Larry Sparks' "Just Loving You,"
and Cindy Walker's "Blue Bonnet Lane."
Their contemporary repertoire is arranged with shared breaks and
crafty instrumental fills. "Lefty's Old Guitar" has been a long time,
about seven years, in coming. I guess that the band and record label
felt that the current personnel had now solidified into a very
cohesive unit of impeccability. Crowe has always been astute about
incorporating some country feeling into his music. Doug Jernigan's
pedal steel on two cuts doesn't bother me, and I appreciate their not
feeling a need to put drums or percussion into the mix. Other
producers (usually Nashville-based) feel that Œpower' bluegrass music
needs drums to present commercial, radio-friendly fare. J.D. Crowe
proves that it just ain't so! One thing I did find missing from their
successful formula, however, would be a hard-driving barnburner that
really challenges the instrumental picking and bowing prowess of
highly regarded award winners like Ronnie Stewart. However, the set
still provides some eclectic ups and downs in tempos for songs that
are as sure to become as classic and influential as some of J.D.
Crowe's seminal works. (Joe Ross)
JOHN STARLING & CAROLINA STAR -
Slidin' Home
Rebel REB-CD-1820
PO BOX 7405, Charlottesville, VA. 22906
www.rebelrecords.com
EMAIL kissyblack@lotosnile.com
Playing Time - 33:06
It seems appropriate that John Starling, originally from Alabama, begins his first new album in more than a decade with another southerner's hit, "Waiting for a Train,"from Jimmie Rodgers. While Starling doesn't include the characteristic singing brakeman's yodel, he does impart his own remarkably distinctive voice to plenty of relaxed country hits with lilting melodies and thought-provoking lyrics. With a heart full of emotion, Starling milks the lyrics of their lament, love and hope.
John's lead vocals and rhythm guitar grace all the tracks, as do Mike Auldridge's resophonic guitar and Tom Gray's bass. Friends for years, all three have the Seldom Scene connection. John left that seminal group in 1988 to concentrate full-time on his medical practice, before rejoining the band as its guitarist and lead singer for a second time from 1992-94. Starling's debut solo release (Waitin' on a Southern Train) showed his eclectic tastes for bluegrass, honky tonk, and classic country. He also put out highly-acclaimed albums in 1987 (Spring Training) and in 1990 (Long Time Gone).
Now retired, John invited some of his best musical friends to collaborate on "Slidin' Home."You may recall that Starling directed the award-winning "Trio"album with Linda Ronstadt, Emmylou Harris and Dolly Parton. In a minor role, Emmylou sings with John on a song she co-wrote with Gram Parsons, "In My Hour of Darkness."I'm sure that John sees some of himself and can personally relate to lines like "But he was just a country boy, his simple tunes confess. And the music he had in him, so very few possess.”
Other choices he made for this album tap the reservoirs of some crafty and profound writers. I've heard Missy Raines and Jim Hurst sing a beautiful "Cold Hard Business"(on their "Synergy"album), but Starling's rendition is done with Jon Randall. An oft-covered song of passion, Leon's Payne "They'll Never Take Her Love From Me"takes a great deal of courage to present. My goodness, Starling still manages to impart his seductive charm to the song sung by the likes of
Hank Williams, George Jones, Marty Robbins, Emmylou Harris, and Waylon Jennings. I never tire of a good hard-hitting familiar favorite, and it has been ten years since Waylon did it. At ten cuts spanning 33 minutes, the album is just a tad short.
Interspersed between the mellow offerings are a couple tuneful instrumentals, "South Riding Tango"and "Irish Spring."Both feature the hot licks of two guests on the album -- Jimmy Gaudreau (mandolin) and Rickie Simpkins (fiddle). For added embellishment to some selection, other guest musicians include Jon Randall, Kent Ippolito, Jay Starling, Pete Wasner, and Larry Stephenson. Auldridge also lays in some tracks of Weissenborn guitar or lap steel. For example, the former instrument is used to impart bluesy twang to "Those Two Blue Eyes,"a song we may best remember as a driving bluegrass number that Keith Whitley released on the Rebel label about 1972. The lap steel and piano perfectly voice their genial moods in Lowell George's "Willin',"a favorite song of John's (and recorded by Linda Rondstadt). The sleepy score of a truck driver heading home declares a strong sentiment - "Had my head stoved in, but I'm still on my feet, and I'm still willin'.”
John Starling closes "Slidin' Home"with one of his most tender sentiments that epitomizes the entire project. The sweet and endearing tune, "Prayer For My Friends,"comes from award-winning Tennessee songwriters Jeff Barbra and Sarah Pirkle. John acknowledges the wonderful people on whom he depends. "Our pathways are different but I love them no less .... I'm so grateful for the people I have in my life, they help me to do what is right .... In my heart here tonight, they're dear to my heart for all time ...."John's new album has laid-back textures, and he sings about life in a tender, kind and empathetic way. (Joe Ross)
DEBRA LYN -
I Can't Remember to Forget You
Palette, N/A
www.debralyn.com OR www.palettemusic.net
EMAIL debra@debralyn.com
Playing Time - 28:10
Back in 2001, I became acquainted with Debra Lyn's singing and songwriting with her Kentucky-based group called "Soulgrass"that presented contemporary bluegrass with elements of soul, R&B, rock, country, and folk. At the time, it became very evident that Debbie is a prolific singer-songwriter whose expressive songs about relationships have a strong country feel. Now Debra Lyn has a new EP, "I Can't Remember To Forget You,"with seven new country songs that she wrote or co-wrote with her encouraging husband and the album's producer, Jeff Silverman of Nashville's Palette Studios. Debra's lead and harmony vocals convey an earthy sensuality. And their choice of instrumentation is much more country than bluegrass now, but they still realize the potential for acoustic instruments to convey certain moods in individual songs. The banjo and fiddle in "So Long Since September,"for example, impart a slight rustic mountain feel to a contemporary storyline. Jeff's guitar, bass and background vocals are solid in the multi-layered sound that also incorporates many other top session players -- Randy Kohrs (banjo, Dobro, vocals), Dave Pearlman (Dobro, steel guitar), Ken Lewis, Nate Morton or Jim Haydon (drums, percussion), James Mitchell (electric guitar), Mike Johnson (steel guitar), Gabriel Katona (piano), and Steve Stokes (fiddle, vocals). I would encourage artists looking for new material to closely peruse her lyrics and melodies on this rhythmically-enticing album. I'm sure you'll find some alluring songs that you can relate to. A song like "I Know"even has the accessible melody, bright lyricism and modulating arrangement that could make it a pop hit. For more info, her website is www.debralyn.com (Joe Ross)
MICHAEL JOHNATHON -
Evening Song
PoetMan PMR-70015
PO Box 200, Lexington, KY 40588
EMAIL folkboy@woodsongs.com
www.eveningsongcd.com
SONGS - Blue Highways, In The Evening, Nightime Star, Spirit, Benediction, Mandarin Mandolins,
Chinatown, Empty Pillows, St. James Hotel, Go Laddy Go, Midnight Symphony, Sunday Song, My Baby,
Masters of War, Troubadour
Playing Time - 57:32
We often hear acoustic country and bluegrass being fused. Michael Johnathon, on the other hand, has
a vision for his "folkestral" music that incorporates elements from folk, blues, bluegrass and
classical genres. A consummate touring folksinger who plays guitar, banjo and mandolin, "Evening
Song" features 13 originals from Johnathon (with the other two from Bob Dylan and Leroy Carr). We
certainly know what Michael's favorite time of day is. His inspired eclecticism does have a common
theme - all of the songs are either about, set in, or written in the evening. That's interesting
because his last album ("Homestead") also included many similar reflective pieces in our about
dimming light ("Winter's Eve" and "The Homestead Suite") with that album's title cut telling a story
of a peaceful autumn evening at home.
The notes on Johnathon's eighth album quote Henry David Thoreau about becoming more pensive in the
twilight of the year and the beauty of the last hour of the day. Most of his songs are peaceful and
contemplative. Others, like "Mandarin Mandolins" and "Go Laddy Go" impart a little liveliness to the
melodic step. The nearly hour-long set closes with "Troubadour," a meandering and presumably
autobiographical sketch about the poetry that lives in his guitar and the "peaceful dreams in
everything I sing." The clever singer-songwriter and radio host (WoodSongs Old-Time Radio Hour)
enlists the support of 18 others for the "Evening Song" project. Noteable bluegrassers include Rob
Ickes (Dobro), Don Rigsby (mandolin), and Andy Leftwich (mandolin). Although liner notes don't
clarify who is playing when, Ickes' playing is immediately recognizable in the breaks and fills. But
with five different mandolinists contributing, players should have been credited on a song-by-song
basis, and some personal notes about the inspiration for each song would have bee helpful. Others in
the patchwork of sound provide cello, bass, violin, viola, French horn, fluglehorn, trumpet,
saxophone, drums, percussion, jew's harp and background vocals. His accompanists successfully
dispense "song conversation" to the music. Evening Song's nicely-arranged, multi-instrumental tones
and rhythms resemble a cozy quilt that warms you by the woodstove at dusk. (Joe Ross)
FROM THE HEARTLAND -
Lift Me A Little Higher
No label, no number
Ftheartjanis@wmconnect.com
http://ftheartland.com/
SONGS - 1. Something About a Sunday, 2. Ken-caid, 3. He's Living in You, 4. Lift Me a Little Higher,
5. Why Are You Waiting, 6. Dust On the Land, 7. Oh' What a Glorious Day, 8. Old Joe, 9. Angel Wings,
10. For the Love of God, 11. Talking to the Lord, 12. My Eyes Are Open
Playing Time - 37:14
Formed in 2004, From The Heartland is an appropriate moniker for a group that plays in Oklahoma,
Kansas and Iowa. They follow their first album, "One Little Kiss," with "Lift Me A Little Higher,"
an effervescent showcase of their songwriting, instrumental and vocal skills. With the exception of
two spirited instrumentals ("Ken-Caid" and "Old Joe"), they raise their voices on high (and low) in
the Spirit of God. The band includes Carl Brown (banjo, Dobro), Freddie Base (guitar), Kenny Terral
(mandolin), Mary Mayhew (fiddle), and Janis Lindsey (bass). All hailing from the Sooner State
(Oklahoma), Lindsey, Terral and Brown are the band's songsmiths. Their messages are direct and
honest in praise of the Lord, and the band's shortcomings don't dampen our enthusiasm. Kenny
Terral's low bass voice reverently assumes a devout tone on "Why Are You Waiting," and in "Talking
To The Lord," he sings in a call-and-response style to Janis Lindsey's pleasant vocal presence.
From The Heartland's members have years of experience playing regionally in
groups such as the The Dixie Ramblers, Larry Ford Bluegrass Band, and Freddie Base and Highway 37
Boys. This album carries dedications to two family members, Kassandara Marie Lindsey and Joe Noel. A
banjo-player and guitarist, Joe was the inspiration for Carl Brown's instrumental "Old Joe."
Kassandra was taken by angels in December, 2004 at age eighteen as the result of a tragic car
accident. Janis Lindsey admits that life can throw us some sad curves. By writing and singing gospel
music, she thanks the Lord for helping her and her family heal from their wounds of grief and
sorrow. Somewhat unpolished, From The Heartland is not trying to win Grammy Awards. Rather, their
music's central premise and vitality come directly from the heart as much as from America's and
bluegrass music's heartland. The band's caring and compassionate attitude is their strength, and we
hear that amply conveyed in their music. (Joe Ross)
TANGLEWEED -
Where You Been So Long?
Squatney Records 45001
Tangleweed.org
Playing Time - 37:35
Chicago-based Tangleweed is a "foot stompin', moonshine drinkin'" group that has an alluring je ne
sais quoi that is sturdy and self-assured. Full of exuberance and energy, the quintet's rough edges
are starting to smooth out since their live debut "Just A Spoonful" album. No personnel changes have
definitely brought their strings tighter, and "Where You Been Gone So Long?" was wisely recorded in
a more controlled studio environment. Timothy Ryan Fisher (banjo), Paul Wargaski (upright bass),
Billy Oh (fiddle), Kenneth Rainey (mandolin), and Scott Judd (guitar) share chemistry that results
in some good-time music inspired from old-time, bluegrass, jug band, swing, gypsyjazz and Irish
airs.
Playing regularly since mid-2004, Tangleweed's strength is their infectious enthusiasm and varied
repertoire. "I've Found A New Baby" is a carefully-cultivated classic 1930s jazz standard, and their
medley of jigs and reels or "Leaving of Liverpool" convey hues of emerald green. A tune like
"Drunkard's Blues" is presented with authentic grit. The band's original old-time protest song
bewailing war and poverty, "Hard Times," gives Tangleweed a sound not too dissimilar from the New
Lost City Ramblers. Also written by all members of the band, the title cut speaks to "being broke
and hungry, sleepin' on the floor" and "twelve hours on a Trailways bus to sleep here by your side."
That cut epitomizes Tangleweed's bluegrass spunk. This string band's eclectic repertoire has a
little something for everyone in a big urban environment like the Windy City. In fact, their varied
music is quite breezy and refreshing too. This mostly excitable, frenzied set ends with another face
of Tangleweed - "Last Call Waltz" with its one minute of doleful yodeling recorded in the empty
stairwell of an old Chicago building. (Joe Ross)
WINDY CREEK -
Take Me Back to the Mountains
SPMNL-011
www.myspace.com/windycreekn
Playing Time - 42:29
SONGS - Take Me Back To The Mountains (Robert Arsenault), Teardrops In My Eyes, Pass Me By, Love and
Wealth,
Thanks A Lot, Ashes of Love, Heaven Seems So Near, It Sure Seem Right At The Time, Your Selfish
Heart, That Lonesome Bluegrass Road (Robert Arsenault), Walking Through Her Memory, If I Could Only
Go Back Home Again, That Bright Land (Robert Arsenault), Today All Over Again, Suns Gonna Shine
From New Brunswick, Canada, Windy Creek is a band that formed in 2005. While
solid if fairly standard, Windy Creek makes no claims that they are going to turn the bluegrass
world upside down. Instead, they sing and play with honest feeling as they open with a heartfelt
original "Take Me Back to the Mountains" that makes for a pleasant but predictable ride. In
workmanlike fashion, they strum and pick their way through traditional bluegrass fare such as
Teardrops In My Eyes, Love and Wealth, Thanks A Lot, and Ashes of Love.
Windy Creek is an interesting combination of seasoned veterans and younger musicians still honing a
few chops but doing a fine job. Robert Arsenault (guitar, mandolin) has been performing bluegrass
and old-time country music for three decades. Marcel Cormier (guitar) has been playing since his
teens. Arn Wickens played gospel and acoustic jazz on electric bass for 25 years before switching to
the upright bass five years ago. The other two band members (Marc Brun on mandolin and Ghislain
LeBlanc on banjo) have been playing their respective instruments for 5-6 years. I understand that
bass and banjo-player Ron Gaudet has replaced Arn Wickens in the group since this album was
recorded. Most of the lead vocals are sung with conviction in a warm conversational style by
Arsenault to harmonies that come across as rather understated. Windy Creek's debut album features
award-winning guest fiddler Ray Legere. Perhaps as a result of hasty production or some
inexperience, Windy Creek's arrangements get a tad cluttered with multiple instruments providing
fills simultaneously. Arsenault's tears are falling as her name he's calling in an expressive
original "That Lonesome Bluegrass Road." There'll come a time when all will be over, and "That
Bright Land" will soon be there. A sweetly wistful remembrance is validated in "Today All Over
Again." Windy Creek has considerable down-home flavor, and their earthiness and enthusiasm will win
them many bluegrass fans in New Brunswick. (Joe Ross)
McCOY GRASS -
The Best Is Yet To Come
No label, no number
EMAIL mccoygrass@cs.com
www.mccoygrass.com
Playing Time - 46:03
It's always a treat to hear teenagers' debut albums before they become rich and famous like Rhonda
Vincent did. Mentors and role models like Rhonda, Alison Krauss, Honi Deaton, and Dale Ann Bradley
are showing girls that bluegrass music welcomes all genders into the fold. Performing at local
festivals for four years, sisters Kelly (age 16) and Katelyn McCoy (age 13) from Fairborn, Ohio show
a great deal of potential. Both sing lead and harmonies. Kelly plays mandolin, guitar, and fiddle.
Katelyn picks guitar, mandolin, and clawhammer banjo. Why, they even write songs too! While they may
benefit from some vocal training, they're not shy as they sing with freshness, vigor and clarity.
With some breath control and other techniques under their belts, they'll be able to vocalize about
unrequited love with an ache, or draw upon deeper emotions in their challenging repertoire. They
earn high marks for their confidence to tackle intensely evocative songs from the likes of Dolly
Parton, Rhonda Vincent, Bill Monroe, Ralph Stanley, and Cousin Emmy. On this showcase CD, they're
joined instrumentally by Jim Chatfield (bass), Tim Hale (banjo), and Evan McGregor (fiddle). Besides
their own, Evan McGregor's and Mike Powell's vocal harmonies are heard in the mix. Of their
originals, Kelly's up-tempo "You Don't Have A Heart" is the strongest, but it loses a certain degree
of passion without any harmony in the chorus.
The important declaration we hear from a CD like "The Best Is Yet To Come" is that there are
talented young people who are practicing diligently and taking their bluegrass music very seriously.
Consuming 60 hours of studio time, the recording this album is a significant milestone on the McCoy
sisters' learning curve because it gave them an appreciation for hard work and has made them better
musicians. This is an impressive effort for a couple of adolescents from Ohio. They deserve our
support and encouragement because they're bluegrass music's future. As Kelly and Katelyn gain
experience and maturity, we can expect to hear much more about McCoy Grass. Already being played on
Ohio's bluegrass radio airwaves, I wouldn't be surprised to see them headlining Ohio bluegrass
festivals within five years. (Joe Ross)
THE OLD TIME BLUEGRASS SINGERS -
Threads
Open Road Records OR-016
PO BOX 271, Lanesboro, MA. 01237
www.OTBGSingers.com
Playing Time - 46:07
Herb Applin, born in 1938, has loved country music ever since he could "reach up and turn the radio
on." Before reviewing this album, I took a spin down memory lane by listening to some of my favorite
Joe Val albums from the early 1970s. The close harmony of Applin and Val were a joy to hear, and the
band's lean but robust elements had robust character and strength that really grabbed you. As "Val
and Applin," they appeared with only guitar and mandolin. In 1967, Herb and Joe teamed up with
Everett Allan Lilly and Bob French to form the Old Time Bluegrass Singers (OTBS). In the 1970s,
Rounder Records signed them up to do the label's very first bluegrass LP. A new band name to better
"sell" their music, Joe Val & the New England Bluegrass Boys, was adopted. Dick Bowden's family
bluegrass band (from Maine) shared stages with the Boston group. From 1982-1987, Bowden played
banjo for Herb's band, the Berkshire Mountain Boys, as well as subbing occasionally in Joe Val's.
Now retired, Herb reconnected with Bowden. Duo appearances soon evolved into the reformed OTBS in
2003.
Although voices age and tire over the years, a heart for bluegrass and old-time country only grows
fonder. OTBS have sewn these "threads" into a cozy comforter that warms us to the core. Just like
early sets of New England bluegrass, the material is drawn from old-time picking and singing (Uncle
Dave Macon, Sam & Kirk McGee), old brother duos (Louvins, Johnny & Jack, Monroe Brothers) to
straight-ahead bluegrass and gospel of the Stanley Brothers, some from their 1961-65 King sessions
like "A Crown He Wore" and "There is a Trap." The former features the band's trio, and Bill Monroe's
"I Hear My Savior Calling" features the quartet. An instrumental, "Squared Off Salt Creek," was
learned from John Hartford's String Band. Another thread is Applin's stint as guitarist with Don
Stover in the late-1970s. "My Blue Ridge Memories," a song they recorded together on Stover's final
album, is clearly a tribute to him.
Early country is represented with numbers recorded by Kitty Wells (Jenny Lou Carson's "Jealous
Heart") and Louvin Brothers songs recorded by Jim Reeves or Roy Acuff. While songcarriers, their
version of "Jealous Heart" changed some lyrics in the second verse and left out the third
altogether. But, it's all mature music from yesteryear. OTBS also covers more recent compositions
from English folk-rockers -- Linda Thompson's "Dear Mary" and Richard Thompson's "Down Where the
Drunkards Roll." The former works in an old bluegrass style, but the latter is a slow number that
just doesn't quite jell for their trio. If they wanted an old trio with that theme, perhaps The
Stanleys' "The Drunkard's Hell," learned from their father, would have been a better choice. I
enjoyed their closing number from the Carter Family, "Where Shall I Be," and don't recall ever
hearing the third verse sung.
Besides Applin and Bowden, OTBS includes Terry McGill (banjo) and Lillian Fraker (bass). Guest
Robert Fraker appears on archtop rhythm guitar. Applin is a multi-instrumentalist, and while he
picked guitar in the old days with Joe Val, he now plays mandolin. Bowden used to perform on banjo
and bass, but he sticks to guitar. Instrumentally, OTBS relies more on traditional rhythm and
feeling than on fancy licks. Applin strives for an "old machine-gun mandolin sound." On "Threads," I
did tend to miss some fiddle (like Herb Hooven used to provide in Joe Val's music). Terry McGill's
banjo playing is noteworthy, and I'd like to hear what he's doing with his band, Straight Drive.
On "Threads," these three tailors and a seamstress have given us an interesting presentation of old
time bluegrass embroidery. The fabric's details are not that fancy, but it's certainly nice to hear
some musical strands the members have sewn throughout the years. And the preservation of old songs
is the dent they are making in our consciousness. (Joe Ross)
THE CLIFFHANGERS -
On The Edge: Traditional Old-Time Fiddle Tunes
5-String Productions 5SP-CD05004
www.devachan.com/cliffhangers
Playing Time - 53:30
Lifelong friends are made at music festivals. Connections and bonds also become apparent in the
conversations that take place between banjo and fiddle. The Cliffhangers call themselves a
"campground band" because they are an association of pals whose love of jamming at the Appalachian
String Band Music Festival near Clifftop, W.V. has brought them together in fellowship. Their first
meeting was in 2001, and they have reunited annually since. Driven by Mark Simos' fiddle and Brendan
Doyle's banjo, "On The Edge" features 16 traditional old-time instrumentals that document a great
deal of emotion, history and nostalgia. The solid rhythm foundation is provided by Jody Platt (tenor
guitar), Rusty Neithammer (guitar), and Karen Falkowski (bass). Some nifty and pleasant lead guitar
work can be heard in the mix on a few numbers like "No Corn on Tygart." Jody's instrument with a
short scale tenor banjo neck and small guitar body is tuned an octave low to the fiddle. Using a
variety of open tunings, she flatpicks melody as well as rhythm.
The CD jacket provides tunings and sources for each of the selections. Their renditions range from a
minute (a West Virginia version of "Silver Lake") to over six minutes (a Kentucky version of "Forked
Deer"). Produced by noted banjo-player Bob Carlin, the album's music is distinctive and infused with
energy. The musicians' personal expression is right in the groove with excellent tone, pitch and
rhythm. Simos' precise technique is flawless, smooth and pleasing. I can only imagine his bow arm
gliding and swooping like a hawk in flight. His style emphasizes tonal beauty, and the band's
melodic accuracy is combined with creativity and rhythmic steadiness. The brawny cross-tuned fiddle
heard on "Chinquapin Hunting" wails with old-time sensuality. If anything is missing in this set, it
would be some beautifully-rendered waltzes, rags, or parlor tunes not fit for much else. I'll bet
that Mark knows some trick fiddling too. While reels are their forte, unless you're dancing along, a
little more variety in the nearly hour-long set would have been a satisfying change.
In his liner notes, Mark Simos refers to the "glorious cacophony" of Clifftop's campgrounds late at
night. That's one way of putting it. "On the Edge" is the first in a set of three albums recorded in
late-2005. This "straight up" music is their older traditional tunes. The next two-volume "Clifftop
Notes" feature Simos' original tunes played with the Cliffhangers and other friends. As much as this
music is a celebration of music and festival revelry, it's also a celebration of old-time kinship.
(Joe Ross)
THE MORGANTOWN ROUNDERS -
self-titled
BFP06001
www.morgantownrounders.com
Playing Time - 37:29
Rounders can refer to people of many, mostly undesirable, characteristics - informers, convicts, and
lazy loungers. But, in this case, there's another definition of the slang term that certainly
applies -- pleasure seekers. "Dance All Night With A Bottle in Your Hand" is the kind of perfect
signature tune for them to demonstrate their melodic mettle to give them and us gratification. Their
set of twelve traditional rousers embraces many sounds from the past, tapping the roots of
Appalachian and Cajun music. Band members include Rachel Eddy (fiddle, guitar, triangle), Scott
Phillips (banjo, Cajun accordion), Jason Jaros (guitar, mandolin), and Walt Sarkees (bass). Instead
of singing, the liner notes indicate that band members sang, cackle, holler, and squawk.
It's a treat to hear these younger funsters presenting traditional music in West Virginie. Rachel
Eddy sings with a precocious style on "Uncle Ned" and "Silver Dagger." If the full-time private
music teacher's fiddle is the spark plug of this band, then it is Scott Phillips' clawhammer banjo
that is a driving piston. Operating on all cylinders, the quartet knows that a successful old-time
band has to operate much like a well-oiled engine. In true old-time fashion, they sing with biting
vengeance. Jason Jaros' previous performance experience has been with Halftime String Band and The
Hillbilly Gypsies. Imparting a rock and roll edge to upright bass, Walt Sarkees is affectionately
known by his bandmates as Captain Rounder.
While some songs work better for them than others, I'm certain that The Morgantown Rounders' music
will further develop and mature in the years ahead, and they'll find their niche in the old-time
music scene in their neck of the woods. There's plenty of rootin' and tootin' on their debut album,
and I'm certain that they'd be a big hit at parties and watering holes. This is real
heel-kicker-upper music. (Joe Ross)
BAWN in the MASH -
Welcome to the Atomic City
FC-906
www.bawninthemash.com OR www.myspace.com/bawninthemash
Playing Time - 48:05
Together as a group since 2005, Bawn in the Mash kicks off their set with a hand-me-down, "Sail Away
Sally," that appears to be a nod of respect for the traditional spirits and distillers of western
Kentucky's musical roots. Their original acoustic music with elements from various genres has some
relaxed sparkle and a friendly intimacy. Bawn in the Mash is Josh Coffey (violin, mandolin), Nathan
Lynn (guitar), Tommy Oliverio (mandolin), Alex Faught (banjo), and Eddie Coffey (bass, guitar). In
some songs, Coffey and Oliverio share the mandolin breaks. All band members have compositions on
"Welcome to the Atomic City." A few have catchy little melodies that are carefully cultivated, even
if they don't have them fully polished instrumentally and vocally. Still, their wry quirkiness
creates an earthy kind of ambiance. "Livin' in Yesterday" has doo-wop vocals with the dichotomy of
twin fiddles to build a mood for a love-starved and deserted drunkard. The rough edges of Oliverio's
"Musical Moon" are smoothed with his own conversational vocal refrain.
Produced by old-time banjo champ Dan Knowles of Tennessee), the band recorded "Welcome to Atomic
City" in ten sessions over a three month period. Alex Faught's instrumental "Poundcake" is a clever
tune that gives everyone a piece of the action. The album's intent was to historically interpret and
fictitiously describe events that could have occurred during the past 150 years around western
Kentucky. "At the Hotel Irvin Cobb" speaks to a 1937 flood, cats and dogs sleeping on the roof, and
being able to get any
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