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More Joe Ross Reviews
More Joe Ross Reviews
More Joe Ross Reviews
Earliest Joe Ross Reviews
Upated: June 16, 2005

BOOK REVIEWS
A FLATPICKER'S GUIDE TO JAMMING
A MANDOLIN PLAYER'S GUIDE TO JAMMING
BLUEGRASS BASS FAVORITES
FAVORITE AMERICAN RAGS & BLUES FOR FIDDLE
GETTING INTO BLUEGRASS MANDOLIN
GOSPEL FLATPICKING GUITAR MADE EASY
Homegrown Music: Discovering Bluegrass

CD REVIEWS
THE ABRAMS BROTHERS - Carrying On
ALL4HYM - I've Come to Take You Home
THE BADLY BENT - High Energy Traditional Bluegrass
BALL SISTERS BAND - Rivers and Roads
DIERKS BENTLEY - Modern Day Drifter
BIG BLUE HEARTS - Here Come Those Dreams Again
THE BISCUIT BURNERS - Fiery Mountain Music
JEFF BLACK - Tin Lily
THE BLINKY MOON BOYS - Moonlite Theatre
RUSTIE BLUE - "Chip Chip"
BLUEGRASS BROTHERS - The Old Crooked Trail
BLUE LIGHT SPECIAL - Back Home in the Country
ALISON BROWN - Stolen Moments
THE BROTHERS BARTON - Originals
HAYES CARLL - Little Rock
HANNEKE CASSEL - Some Melodious Sonnet
CEDAR HILL - Stories
THE CHAPMANS - Simple Man
CHATHAM COUNTY LINE - Route 23
GEORGE CLARK & DIXIE FLYER - Back Home
CLAY COUNTY - Love is the Source
CORN ISLAND BAND - First Crop
CHARLIE DANIELS - A Gospel Bluegrass Collection "Songs from the Longleaf Pines"
DEAD MEN'S HOLLOW - Forever True
DESSERT - Sings and plays bluegrass music
CRAIG DILLINGHAM - Almost Yesterday
JERRY DOUGLAS - Dobro Techniques (DVD)
DRY BRANCH FIRE SQUAD - Live at the Newburyport Firehouse
FORTY FIVE SOUTH - We're Country So We Can
THE GILLIS BROTHERS - Best of the Gillis Brothers: The Hay Holler Years
PETE GOBLE - When I'm Knee Deep in Bluegrass
JOETTA GRANT - Jesus Washed Away My Sins in The Color of Red
THE GRASCALS - The Grascals
GRASS STREET - Better Times
THE GREERS BLUEGRASS BAND - Scorched Heart & Ashes
K.C. GROVES - Something Familiar
MITCH HARRELL - Oh Heart
TREY HENSLEY & Drivin' Force - Backin' to Birmingham
RAY WYLIE HUBBARD - Delirium Tremolos
ICEWAGON FLU - Mr. Norman
CAROL ELIZABETH JONES & LAUREL BLISS - Ridin' Along
JIM KANAS - Take the El
LARRY KEEL and NATURAL BRIDGE - Self-titled
JAMES KING - The Bluegrass Storyteller
LEAH LARSON - Long Journey
DOYLE LAWSON - You Gotta Dig a Little Deeper
PHIL LEADBETTER - Slide Effects
JULIE LEE - Stillhouse Road
CONNIE LEIGH - Hillbilly Girl
THE LINVILLE RIDGE BAND - Hopes and Dreams
LOST IN THE FOG - Not Far From the Tree
MIKE McCOLLUM - Just a Workin' Fool
JESSE McREYNOLDS & CHARLES WHITSTEIN - A Tribute to Brother Duets
LIZ MEYER - The Storm
SAM MILTICH & The Clearwater Hot Club - May Rain
GARY LEE MOORE - Uncle Pig
TINY MOORE & JETHRO BURNS - Back To Back (2-CDs)
NEWFOUND ROAD - Somewhere Between
MARK O'CONNOR'S APPALACHIA WALTZ TRIO - Crossing Bridges
OLD SCHOOL FREIGHT TRAIN - Run
JEFF PARKER - Two Roads to Travel
ELLIS PAUL - American Jukebox Fables
CHARLIE POOLE and the Roots of Country Music - You Ain't Talkin' To Me
JOHN PRINE - Fair & Square
HANK RAY - Ballads from the Badlands of Hearts
JAMES REAMS & The BARNSTORMERS (plus double-feature DVD)
JOHN REISCHMAN & THE JAYBIRDS - The Road West
RIFT - Push On Thru
DANNY ROBERTS - Mandolin Orchard
ROOTBOUND - Self-Titled
RUN OF THE MILL - Kudzu
CHRYSTAL SAWYER - self- titled
MARK SGANGA - Sganga Nova
STEVE SMITH - Hard Road
LARRYSPARKS - 40
SPECIAL CONSENSUS - Everything's Alright
RALPH STANLEY - Shine On
THE STANLEY BROTHERS: Earliest Recordings: The Complete Rich-R-Tone 78s (1947-1952)
STEEP CANYON RANGERS
REDD STEWART - Golden West Cowboy
CHRIS STUART & BACKCOUNTRY - Mojave River
TRUE NORTH - Cobalt Miles of Sky
TWO TONS OF STEEL - Vegas
UNCLE EARL - Raise a Ruckus (EP)
VARIOUS ARTISTS - All Star Bluegrass Celebration
VARIOUS ARTISTS - CAN'T YOU HEAR ME CALLIN' - BLUEGRASS: 80 YEARS OF AMERICAN MUSIC
VARIOUS ARTISTS - Classic Southern Gospel
VARIOUS ARTISTS - Come to the Mountain: Old-Time Music for Modern Times
VARIOUS ARTISTS - Fresh Faces at Merlefest 2005
VARIOUS ARTISTS - Moody Bluegrass: A Nashville Tribute to the Moody Blues
VARIOUS ARTISTS - Mountain Journey: Stars of Old Time Music
PATRICIA VONNE - Guitars & Castanets
LOU WAMP - Resolution
WATERTOWN - Mando Saenz
DARRELL WEBB - Behind the Scenes
WELL SEASONED - Up this road and down
CHERYL WHEELER - Defying Gravity
LARE WILLIAMS - A Name of My Own
MASON WILLIAMS - EP 2003: Music for the Epicurean Harkener (EP)
YONDER MOUNTAIN STRING BAND - Mountain Tracks: Volume 3 (2 CDs)
ADRIENNE YOUNG & Little Sadie: The Art of Virtue
ELI YOUNG BAND - Level




 
OLD SCHOOL FREIGHT TRAIN -
Run
Acoustic Disc ACD-61
Box 4143, SanRafael, CA. 94913
Tel. (800)221-3472
www.acousticdisc.com
publicity@acousticdisc.com
Playing Time - 55:04
           Hailing from Charlottesville, Va., Old School Freight Train is a quintet that chooses bluegrass instruments for their largely original material that incorporates blues, jazz, Latin, swing and rock grooves. Why, they even take on a Celtic motif with an original "Mr. Parshif's Jig" that eventually evolves into the lightning speed of a reel. Their only covers on this project are Stevie Wonder's "Superstition" and Randy Newman's "Louisiana 1927," both tastefully rendered in fine new acoustic fashion. David Grisman, who guests with his mandolin on "Euridice," offers that the band caught his attention, and they now have a place on the Acoustic Disc label. Joe Craven plays percussion on two tracks.
           OSFT's contemporary acoustic music is arranged and built around evocative lyrics which should've been included in the CD jacket. Guitarist Jesse Harper sings with exhilarating electricity, more characteristic of a jazz vocalist. The dynamics in the band's music call for rhythmic and tempo variations that impart power and intensity. Instrumental breaks are shared among all the band members, and their song's appealing melodies are lyrical and fluid.
           Besides Harper, Old School Freight Train includes Pete Frostic (mandolin), Ben Krakauer (banjo), Nate Leath (fiddle), and Darrell Muller (bass). The title track and some of the other offerings ("Drama Queen" or "Broken Pieces") have commercial leanings which clearly open up the door for significant airplay. The closer, "Dance" is explosive and distinctive. The band's eclectic nature covers a great deal of ground from bluegrass ("Henry Brown" and "Lookee Here") to R&B ("Superstition") to adventures south of the border ("Tango Chutney" and "Euridice"). Pete Frostic's "Trick Dog" is also a zealous stringed exploration featuring mandocello.
           The band has been together since 2000 and won awards at Telluride and Rockygrass. Their first self-titled album came out in 2002. With sound and energy that get an audience to sit up and take notice, OSFT is steaming up the hill of success. Don't let "Run" fool you into thinking that they are suffering from an identity crisis. These boys clearly have the musical acumen to journey into whatever territory their adventurous tastes take them. Their music exudes originality, tact and innovation. (Joe Ross)



 
LARRY KEEL and NATURAL BRIDGE -
Self-titled
EXP Records LKNB2K05-01
PO Box 3301, Asheville, NC 28802
EMAIL - joe@moorepublicity.com OR booking@larrykeel.com OR pub@moorepublicity.com
www.larrykeel.com
Playing Time - 39:48
           Songs - 1. Border Ride, 2. Weary Heart, 3. Lets Go To The Fair, 4. Farewell Blues, 5. I Know You're Married, 6. Poor Monroe, 7. Gatherin Flowers, 8. Heavy Traffic, 9. Georgia Mail, 10. Next Sunday Darlin, 11. Dear Ole Pal, 12. I Haven't Seen Mary, 13. Groundhog, 14. Durhams Bull
           Larry Keel's old Gibson guitar looks like it's been around, rode hard and put up wet. But it sure can put out some sound when he races through a flatpicking classic like "Farewell Blues." Fronting a quartet that plays "American Mountain Music," Keel is dedicated to preserving a traditional bluegrass sound with its rough vocal edges that actually lend to the band's charm. Natural Bridge is Mark Schimick (mandolin), Andy Thorne (banjo) and Jenny Keel (bass). All four band members sing. Keel's vocalizes with growling gusto, and some of the other band members occasionally sing the lead vocals such as Keel on "Gatherin Flowers." The CD jacket is remiss in not clearly identifying the vocalists on each song. Songwriter credits are not included either with only a statement that "all songs [are] traditional." Of course, some stem from the repertoires of Bill Monroe, The Stanley Brothers, and Grandpa Jones. Another suggestion that would've enhanced this material would have been to enlist the support of a guest fiddler.
           Larry Keel was born and raised in the Blue Ridge Mountains, grew up around music, played bluegrass at Tokyo's Disneyland, and won the Telluride guitar contest a couple times. Larry met his wife, Jenny, at a bluegrass show in Lexington, Va. She's been playing bass for nearly a decade. Like Larry, North Carolinian Mark Schimick was exposed to bluegrass early in life. He pursued formal musical training (choir singing and classical piano) and later was a drummer in various bands before taking up mandolin about ten years ago. Banjo-player Andy Thorn may be only in his 20s, but he shows a strong aptitude and skill with the 5-string. He's played with Big Fat Gap, the Broke Mountain Bluegrass Band, and took first place at the Rockygrass banjo contest in Lyons, CO. He's currently studying jazz guitar at UNC.
           Larry Keel and Natural Bridge's debut album shows that this band can pick with a vengeance. They draw from the well-established bluegrass canon that has plenty of support. Keel's vision is to nurture and preserve America's musical heritage while letting it inspire his own writing and playing. So, in that sense, this talented band is walking on a "natural bridge" that stretches from the old tradition to their own musical prologue today that builds on this heritage. (Joe Ross)



 
RUN OF THE MILL -
Kudzu
Kinfolk Explosion Records
104 Toynbee Place
Chapel Hill, NC 27514
Phone: 919-824-1521
Email: kinfolkexplosion@yahoo.com
Web: www.runofthemillband.com
Playing Time - 55:16
           Formed in 2004, Run of the Mill is a progressive bluegrass band from Chapel Hill, NC. that shows jazz, rock, and blues influences in their invigorating music. Besides banjo, mandolin, guitar and bass, the mix on "Kudzu" includes sax, percussion, keys, and harmonica. Run of the Mill's stylistic footing covers many moods which may be partly attributable to the band members' expansive musical backgrounds. Ben Parker (mandolin, guitar, sax, lead vocals) cites such broad-ranging influences as Pink Floyd, Genesis, Tony Williamson, David Grisman, Sam Bush, Coldplay, and Miles Davis. The band's co-founder, Ben Walters (banjo, guitar, vocals) was born and raised in Alabama with a banjo on his knee. He learned from such banjo greats as Herb Trotman, James McKinney, Ryan Cavanaugh, and various 80s rock guitarists. Walter's currently studying piano at UNC-Chapel Hill. The self-professed "groove machine" of the quartet, Tim Shelburne (bass, vocals) acknowledges his influences are from the genres of rock, funk, jazz, and jam band music. Robbie DiMauro (percussion, vocals), originally from Montreal, has lived in Chapel Hill, NC since 1989. He's into Latin, blues, jazz, bluegrass, and rock n' roll.
           Run of the Mill enjoys challenging themselves as a bluegrass/jazz/jam fusion group. Opening with its leisurely and mellow rock rhythm over a standard bluegrass chord progression, "Country Home" sets a stage for the envelope that is going to be continually pushed for 55 minutes. Kevin Hopkins' dobro brings the down home country feel to life, something that would've embellished a few other pieces on "Kudzu." Funkgrass is the best way to describe "Thought of Lovin'," lyrically inspired by Parker's pursuit of his girlfriend. Ben Walters' instrumental "Heavy D," epitomizes what Run of the Mill is trying to do as a band -- create simple, nice sounding music that combines bluegrass technicality with complex musical theory, while not sounding overly complex. "Wooden Frame" is a love song which captures an emotion that the band's audiences enjoy at shows. Of all the cuts, "Rambler's Curse" has the most straightforward 4/4 bluegrass sensibility, and its definitely one of the cuts that would've been enhanced if the band had chosen to include some guest fiddling in the mix.
           "The Dawn Treader" is one of the band's epic pieces (nearly seven minutes) characterized again by musical complexity and tonal simplicity that successfully results in a pleasant aural experience as its time signature changes and minor 7th chords flow throughout the jam that the boys clearly have fun with. Certainly, this must be one of their crowd-pleasers in a live performance. "Carolina Girl" gives us a catchy melody in a poppy funk fashion. "Blackberry Devil" fuses "Blackberry Blossom" with "Friend of the Devil" and gives them plenty of room for personal improvisation and interpretation that even includes musical quotes (by pianist Sam Gingher) from "God Rest Ye Merry Gentlemen" and "Inspector Gadget." The album's eight-minute closer, "Temporary Cure" shows how Gingher tastefully incorporates the keys with the band's string instrumentation and jazzgrass style. Ben Walter's dissonant banjo provides an interesting twist as Parker sings of grabbing "one night's companion for a temporary cure."
           Run of the Mill's vision is to make music that is different and inspiring, from technical, emotional, and musical perspectives. "Kudzu" demonstrates this approach, and it serves as a welcome debut for this group. Musical diversity and having fun are their fortes, and one's got to appreciate this quest for musical treasure. Gotta laugh at this band's moniker - run of the mill. They're well on their way to leaving an outstanding legacy on the acoustic music field. (Joe Ross)



 
ADRIENNE YOUNG & Little Sadie:
The Art of Virtue
Addiebelle Records (Virtual Label/Ryko)
1101 17th Ave. S., Nashville, TN. 37212
www.adrienneyoung.com OR www.commotionpr.com
TEL. (615)321-1311
EMAIL kay@commotionpr.com OR jane.grimes@echomusic.com
Playing Time - 58:15
           Adrienne Young has a unique flair in her music that is an enchanting mix of old-time and pop with 21st century musical keenness and business acumen. Young's astute approach involves association with consummate musicians, charged-up arrangements, thoughtful messages, and bright and breezy vocalizing. Like her debut "Plow to the End of the Row," Young's sophomore effort, "The Art of Virtue," is on her own Addiebelle Records. One has to appreciate this talented, young lady's self-confidence as she continues to build her resume in a very competitive field.
           "The Art of Virtue" was inspired in part by Ben Franklin's ‘virtues of man' writings and stories. Songs like "My Sin is Pride" and "My Love Will Keep" and "Wedding Rings" emphasize the themes of morality, goodness, and high levels of integrity. Her messages might have a nostalgic look back to yesteryear, but her music is very contemporary and soothing. There's certainly nothing wrong with a thematic album that appeals to us in a visceral way "down where the roots grow deep." Ballads like "Ella Arkansas" and "Rastus Russell" paint powerful pictures and tell engaging stories while incorporating country and acoustic blues riffs.
           Art of Virtue features Young's proficient songwriting, some reinvented old-time fiddle tunes, the gospel standard "Farther Along," and the Grateful Dead's classic "Brokedown Palace." A Zydeco-flavored "Wedding Rings" is a spirited performance that gets us up and cutting a bean, while "Don't Get Weary" is an old-timey offering with frailed banjo, guitar, bones, resonator guitar, and voices. Young's lyrics offer mature and solid advice, usually gained from a lifetime of experience. Her smarts and wisdom belie her age.
           A grad of Belmont University's music business program, Young's career took off after winning the Chris Austin Songwriting Contest at Merlefest. Her "Plow to the End of the Row" CD earned a Grammy nomination for album design. On "The Art of Virtue," Young's songwriting exhibits honesty and a natural inclination to create lyrical and melodic treasures. Her singing shines with its greatest lustre on the slower songs, while a few pieces (like "Don't Get Weary") portray a more arduous side to her voice. An uptempo "Farther Along" is an interesting bluegrass presentation that certainly works, but her greatest success is as a storyteller of original folk tales. Young's parables put to music are very likeable. (Joe Ross)



 
TWO TONS OF STEEL -
Vegas
Palo Duro PDR-4001
PO Box 810, Ooltewah, TX. 37363
Media@palodurorecords.com OR wayne@lutherwolf.com OR megjill@aol.com OR chris.thomas@palodurorecords.com
www.palodurorecords.com OR ww.twotons.com
TEL. (866)PALO-DURO
Playing Time - 42:27
           SONGS - Vegas, Drive You Home Tonite, Your Kiss, Unglued, Can't Stay With You, Havana Moon, Secret Agent Man, Ice Cream Man, Baby You Got Me, I Wanna Be Sedated, Red Hot
           Chroniclers of "countrybilly" sounds, San Antonio-based Two Tons of Steel show influences of pioneer rock n' rollers who have gone before. Guitarist Kevin Geil is the primary singer/songwriter in the band, and his lyrics are worth listening to and seem to fit the tunes well. Most impressively in classic country fashion and with lyrical talent, Two Tons of Steel concurrently covers contemporary subject matter and popular culture. That built them a devoted following and landed them appearances in concert, film, and ads. The band plays the Grand Ole Opry, as well as Texas' famed Gruene Hall, where an annual Two Ton Tuesdays summer series draws 12,000 fans. Upcoming CD and DVD releases will document Two Ton Tuesdays.
           The group was called the Dead Crickets until 1996 when they became Two Tons of Steel in a tribute to Kevin Geil's restored '56 hardtop Cadillac. "Vegas" is their eighth album, but first on the Palo Duro Records label. Besides Geil, the rest of the weight is Dennis Fallon (electric guitar, harmonica), Ric Ramirez (upright bass), Chris Dodds (drums), and Denny Mathis (steel, dobro). Ramirez and Dodds sing harmonies. Guests include Riley Osbourn (organ, piano) and Fernando Castillo (trumpets on "Vegas").
           "Vegas" has plenty of fiesty rockin' original songs about travelling, rambling, loving and partying like "Unglued," "Can't Stay With You," and "Baby You Got Me." The only ballad is the fanciful "Havana Moon," written during the band's 1997 trip to Cuba. The band's rockabilly cover of The Ramones' "I Wanna Be Sedated" is one that their fans always dig. Another cover is Johnny Rivers' "Secret Agent Man," and it gives Mathis, a member of the Texas Hall of Fame, plenty of leeway to shine. Two Tons of Steel is a superior band that specializes in the live honky-tonk music found at nightclubs and watering holes throughout the lone star state. The serve up some robust music that spells "t-e-x-a-s" in fine fashion. (Joe Ross)



 
JESSE McREYNOLDS & CHARLES WHITSTEIN -
A Tribute to Brother Duets
Pinecastle PRC-1145
PO Box 456, Orlando, FL. 32802
www.pinecastle.com
info@pinecastle.com OR radio@pinecastle.com
Playing Time - 37:27
           SONGS - 1. Gone But Not Forgotten 2 Remember Me 3 Rose Of My Heart 4 Are You Missing Me 5 When I Stop Dreaming 6 Blues Stay Away From Me 7 The White Dove 8 Kentucky 9 Somebody Loves You Darling 10 That's All I Want From, You 11 Which One is to Blame 12 What Would You Give
           Two of the most notable brother acts in recent times have been Jim and Jesse McReynolds, and Charles and Robert Whitstein. Robert passed away on November 14, 2001, and Jim passed on in December 31, 2002. While both surviving brothers were greatly saddened by their losses, they endured and bounced back by forming their own duo. Their only new song in this set, "Gone But Not Forgotten," written by Jesse, opens the album with this tribute to their deceased brothers. Classic songs are drawn from the material of many other famous brothers acts - the Delmores, Wilburns, Morrises, Louvins, Monroes, Stanleys, Yorks, Bailes, and Bollicks (Blue Sky Boys). There are many old favorites like "When I Stop Dreaming," "What Would You Give (in Exchange For Your Soul)?," "Rose of my Heart," "The White Dove," "Blues Stay Away From Me," "Kentucky," "Remember Me (When the Candlelights are Gleaming) and "Are You Missing Me." McReynolds, 75, and Whitstein, 60, also cover a few less commonly heard duets such as "Somebody Loves You Darling," "That's All I Want From You," and "Which One Is To Blame."
           Besides Jesse (mandolin, mandolobro) and Charles (guitar), the rest of the band includes Dave Salyers (lead guitar), Charlie Cushman (guitar), Glen Duncan (fiddle), and Kent Blanton (bass). The artists don't overplay and provide just the right amount of tasty accompaniment to complement the vocalists. Jesse's cross-picking and tremolo are always a treat also. As they sing in "Gone but Not Forgotten," it's not quite the same since Jim and Robert went away. However, Jesse and Charles vow to "do their best," and they've proven that they can create strong and close harmony together that pays homage to their departed brothers. (Joe Ross)



 
FORTY FIVE SOUTH -
We're Country So We Can
Tilo 45S05-CD
845 Jones Road, Henderson, TN. 38340
TEL. (615)777-6995 Ext. 23
tilorecords@aol.com OR john@websterpr.com OR jane.grimes@echomusic.com
www.forty5south.com
Playing Time - 42:44
           SONGS - 1. I'm Gonna Move On, 2. The Stuff I Grew Up On, 3. Heaven Only Knows, 4. I've Been There Too, 5. Li'l Red Riding Hood, 6. A Mile Away, 7. My Way, 8. Second Hand Life, 9. Taste Of Class, 10. Smoke If You Got 'Em, 11. Seems Like Yesterday, 12. We're Country So We Can
           Lead vocalist, acoustic guitarist and primary songwriter Ashley Bowers fronts Forty 5 South, a "100% pure country" band that hails from Jackson, TN. where Highway 45-S runs. Cutting their teeth in bars like "Jimmy D's," the band's original music and fresh sound landed them gigs playing for the armed forces throughout the Pacific and Asia during the fall of 2003. "We're Country So We Can" is the group's sophomore effort, and it's sure to continue the buzz and intrigue about them. The title cut's message is about working hard, trying one's best to make a living, and standing behind what you say. This might just be the inside story of this progressive country band that took the approach of building their name in Texas before branching out to national recognition. Bret Michaels (of the rock group Poison) contributes some vocals on the title cut, as well as producing this album.
           Besides Bowers, Forty5South includes Jonathan King (drums), Phillip Lemmings (rhythm guitar, mandolin), Justin Tapley (guitar), and Seth Gordon (bass). All these guys are just in their 20s, but they pick and sing like veterans. Fifteen additional musicians contribute to this recording, and it's nice to hear a tad more fiddle and mandolin (Larry Franklin, Glen Duncan), banjo (Jamie LaRitz), and steel (Mike Johnson, Daniel Dugmore).
           Bowers collaborates with friend Bryan Dinkins on four songs. The band is building themselves a legion of fans who enjoy raucous, rowdy and energetic country with rock influences. "We're Country So We Can" resonates with plenty of pulsating sound waves that are sure to thrill. Their combination of new material, high-geared instrumental prowess, high-octane vocals, and collective youthful energy will take them far. (Joe Ross)



 
VARIOUS ARTISTS -
Classic Southern Gospel
Smithsonian Folkways Recordings SFW-CD-40137
750 9th Street, NW, Suite 4100, Washington, DC 20560-0953
www.folkways.si.edu OR www.smithsonianglobalsund.org
EMAIL atedford@shorefire.com OR mhanks@shorefire.com OR smithjm@si.edu OR hillr@si.edu
TEL. (202)275-1579 or (202)275-1156 or (718)522-7171
Playing Time - 60:51
           SONGS - 1. I'm Working On A Building - Bill Monroe & His Blue Grass Boys, 2. No Disappointment In Heaven - Dock Boggs, 3. Wondrous Love - Old Harp Singers , 4. Are You Washed In The Blood?, 5. What Are They Doing In Heaven Today? - Harry & Jeanie West, 6. Lost Soul, The - The Watson Family, 7. Hallelujah Side - Earnest Stoneman, 8. Walking In Jerusalem (Just Like John) - The Country Gentlemen, 9. Sinner, You'd Better Get Ready - The Lilly Brothers, 10. When He Reached Down His Hand For Me, 11. Away Over In The Promise Land - A.L. Phipps Family, 12. No Tears In Heaven - Kilby Snow, 13. Old Country Church - Tom Morgan , 14. Glory To The Lamb, 15. Amazing Grace - Clarence Ashley/Fred Price, 16. River Of Jordan - The Poplin Family, 17. Shake Hands With Mother Again - The Allen Brothers, 18. Gabriel's Call - Hazel & Alice, 19. What Would You Give In Exchange For Your Soul? - Bill Monroe/Doc Watson, 20. He Said, If You Love Me, Feed My Sheep - The Stencer Quartet, 21. I Am A Pilgrim - The Country Gentlemen, 22. I'm Going To A City - Indian Bottom Association
           These twenty-two tracks of classic southern gospel music present much variety from the Smithsonian Folkways vaults. Dating primarily from the late 1950s and early 1960s, these songs are country or bluegrass gospel as performed and listened to by white family groups. The earliest recorded offering is "Wondrous Love," recorded in 1951 by The Old Harp Singers of Eastern Tennessee. The latest recording dates to a 1993 special meeting of the Indian Bottom Assn. of Old Regular Baptists singing "I'm Going to a City." Extensive liner notes (25 pages total) provide an introduction to the music, the 19th Century roots of the music, publishing companies, quartets, pentecostalism, modern southern gospel, song notes, and suggestions for further listening and reading..
           This compilation includes songs from familiar artists such as Bill Monroe, Dock Boggs, Earnest Stoneman, Red Allen, The Lilly Brothers, Doc Watson, Country Gentlemen, and Hazel and Alice. Their work is well documented. Of special note are the many artists who are less familiar to us. It is a joy to hear such songs as "Away Over in the Promised Land" by The A.L. Phipps Family. Phipps had begun his career as a devoted fan of The Carter Family and that style of music before he starting his own record company called Pine Mountain. "No Tears in Heaven" features Kilby Snow on vocals and autoharp. "Old Country Church" is presented by Tom Morgan and others is from a 1983 Folkways recording. The DeBusk-Weaver Family's rendition of "Glory to the Lamb" also emphasizes autoharps, vocals, and guitar. From South Carolina, the Poplin Family's "River of Jordan" is sampled from a 1963 Folkways release. A 1967 cut ("He Said, If You Love Me, Feed My Sheep") attributed to the Stancer Quartet was recorded by Mike Seeger as part of a Virginia radio broadcast, but the four singers remain unidentified.
           This sampler is an enchanting collection that will reinvigorate an interest in classic southern gospel music. Smithsonian Folkways is to be commended for this release, and we can only hope that more offerings from their traditional music archives are forthcoming. (Joe Ross)



 
SAM MILTICH & The Clearwater Hot Club -
May Rain
No label, no number
28996 Clearwater Rd., Grand Rapids, MN. 55744
Tel. (218)327-1492
www.clearwaterhotclub.com OR http://www.cdbaby.com/clearwater2
guitar_sam5@hotmail.com OR dearnorth@aol.com
Playing Time - 61:07
           SONGS - 1. I Found a New Baby 2. Je Suis Ceul Ce Soir 3. May Rain 4. Blythe Spirit Samba 5. Estate 6. Echoes of Spain 7. Indifference 8. J'attendrai 9. Recieta de Samba 10. Tears 11. Bossa Dorado 12. Douce Ambiance 13. La Tzigane Qui Danse 14. Inspiracao 15. Bossa du Grand Marais 16. Ask Me Now
           The Gypsy jazz music of Django Reinhardt and Stephane Grappelli was originally conceived with guitars, fiddle, and bass, and it's great to see bands like Sam Miltich & The Clearwater Hot Club (from Grand Rapids, Mn.) in the forefront of a burgeoning resurgence of this wonderful string music from the 30s and 40s. In the hands of adroit players, the music is a wonderful treat to hear again in such high fidelity as can be produced in today's studios. All tracks on this CD are impressive and memorable as the band supplements jazz standards with less oft-heard material and originals. Interestingly, music has been in the Miltich Family for generations and, they also love the Tamburitza music of their Croatian heritage.
           Guitarist Sam Miltich plays piano on his original "La Tzigane Qui Danse." The other players on this album include Sam's father Matthew Miltich (bass), Mark Kreitzer (rhythm guitar, violin on two tracks), Raphael Fraisse (violin), Patrick Harrison (accordion on two tracks), Tom Schaefer (violin on four tracks). The band on Paul Mehling's "Blythe Spirit Samba" includes Sam Miltich (lead guitar), Paul Mehling (rhythm guitar), Josh Workman (rhythm guitar), Ari Munkres (bass), and Evan Price (violin). Mehling regularly plays with The Hot Club of San Francisco, and he has taught and mentored Miltich over the years. Consummate players all, they showcase their singularly impressive improvisational skills while not grandstanding or detracting from a cohesive band sound.
           All of their songs on this generous hour-long album make for a very compelling set epitomized by dynamism, excitement, and emotional impact for the listener. The variety in their arrangements provides plenty of musical moods. Sam's solo guitar presents Reinhardt's "Echoes of Spain" and Garoto's "Inspiracao." Leaner renditions of Monk's "Ask Me Now," Miltich's "La Tzigane Qui Danse," and Schmitt's "Bossa Dorado" incorporate only two or three instruments, showing that the band appreciates the fact that sometimes less is more. Some personal favorites are the buoyant "Indifference," snappy "J'attendral," and fluid "Receita de Samba" with their toe-tapping and danceable beats.
           After cutting his young teeth on bluegrass and an eclectic variety of artists, Sam Miltich decided that Gypsy jazz was his music after seeing the film "Sweet and Lowdown." Sam just turned 20 in 2005, and he is already a convincing talent who clearly has many successful years of professional music performance ahead of him. Sam's goal is to try to make the world a better place by bringing music, peace, and harmony into it. This band's engaging jazz, Latin, swing and original music certainly made my own world a better place after hearing it. (Joe Ross)



 
RUSTIE BLUE -
"Chip Chip"
CSPO726
Wildfirepublicity@comcast.net
www.rustieblue.com OR http://www.cdbaby.com/cd/rustieblue3
Playing Time - 49:53
           Rustie Blue's third album, "Chip Chip" continues to emphasize straightforward country with both traditional and progressive material. Her growing fanbase will be thrilled with this release that features the title duet with "Whisperin" Bill Anderson, who also co-authored the tracks, "Tomorrow Tonight" and Before I Fall" and "When I Remember You." In the 2005 European CMA Awards, Blue and Anderson were nominated for a Vocal Collaboration of the Year Award for "Chip Chip," with its catchy hook and drive. Anderson's lead vocal is in fine form as he energetically sings "chip, chip, chippin' away at our love" with Rustie. Throughout this album, the music bursts with pep and is full of steam. Rustie and band seem to have an affinity for spirited songs like "Cloud Of Dust," "The Same Old Who," "Oh Baby," "Two Left Feet," and "The Devil May Care," but they also give us very tasteful renditions of slower or moderate tempo songs like "Tomorrow Night" which Bill Anderson co-penned with Deborah Allen. Some of Blue's singing has rock influences, while a song like "Don't Come Cryin'" gives her a chance to incorporate a more bluesy and pop style into her vocalizing. Last I heard "The Devil May Care" was at #12 on the Indie World Country Chart.
           Some impressive talents serve as the accompanying musicians on "Chip, Chip." Music producer/engineer Mike Headrick is a superior instrumentalist on guitars, steel, mandolin, and dobro. Joe Caverlee's fiddle and Tim Atwood's piano also provide some emotionally-charged support. Kenny Berry's bass and Bob Courter's drums give the songs a foundation of rock solid and powerful rhythmic intensity. Background vocals from Jackie Harling and Jimmy Layne sit very nicely in the overall mix of this first-class production.
           Growing up around country music in southeast Ohio, Rustie also demonstrates her songwriting talent on "Honky Tonkin' Diva." She chooses material from a variety of songwriters, many out of Nashville, but a real treat is to hear her cover Martha Carson's big standard "Satisfied" to close this project. Martha Lou, of course, was one of country music's early queens and a big draw at state fairs, and on the Renfro Valley Barn Dance and Grand Ole Opry. It nice to see that young folks like Rustie Blue haven't forgotten Carson and her songs. Blue also sings "Smokey Mountain Queen" as an acoustic tribute to another country queen, Dolly Parton. With her exuberance, charisma and energy, it's clear that Rustie's live show would be very entertaining. As she continues to tour around the work, Rustie Blue's legion of fans is burgeoning. Rustie Blue could very well be one of this generation's next queens of country music. (Joe Ross)



 
JEFF BLACK -
Tin Lily
Dualtone 80302-01202-2
1614 17th Ave. South, Nashville, TN. 37212
www.jeffblack.com OR www.dualtone.com/b2b
TEL. (615)298-1144
EMAIL kissyblack@lotosnile.com OR jocelyn@lotosnile.com
Playing Time - 47:09
           Jeff Black is a singer, songwriter, and multi-instrumentalist (guitar, keys, harmonica) whose Americana music incorporates influences of country, folk and rock stylings. His songs have been covered by Waylon Jennings, Sam Bush, Lisa Brokop, Jo-El Sonnier, Blackhawk and others. Although Arista Records put out his debut album, it is the Dualtone label that has now signed Black and released "Tin Lily." With all lyrics included in the CD's jacket, one should tune into his messages to see if they are memorable by providing inspiration, insight, or enlightenment. Or if his lyrics tell striking stories with some of his own interpretive twists and experiences along the way. Many of his songs give us his pensive considerations for homemade simplicity, the state of life and relationships. Others are quite uplifting as they encourage personal introspection and reflection. Black's audiences are listening, and they are paying rapt attention to his more exhilarating material.
           Black associates with some veteran musicians. Kenny Vaughn and Will Kimbrough play electric guitars. Dave Roe and Dave Jacques play the bass, while drums/percussion are ably played by Craig Wright. Piano or organ are laid into the mix for two songs by Jody Nardone . Sam Bush (mandolin, fiddle) appears on a few tracks, and backup vocals are tastefully rendered by Mathew Ryan and Kate Campbell.
           The Black stock is a hearty working-class one made up of industrious people who weren't afraid to get their hands dirty in the quest for success. Perseverance may be the key. Realizing that "the hard way out is hopeless," Black also isn't trying to prove anything to anyone. He's merely letting his unique spiritually-tinged music speak for itself as he sings his songs that largely address country values. Born in Kansas City, Jeff Black has been compared to the likes of Neil Young, Bruce Springsteen, Harry Chapin and Steve Goodman.
           Sharing the same stage with Steve Earle, Shawn Colvin, John Hammond, Guy Clark and others will continue to build Black's fanbase among patrons of music that sits outside the mainstream. Black is creating a powerful body of work as he explores his concern for ordinary life. With a keen ability to be both laconic and passionate, Jeff Black sings organic songs that are meant to be personally interpreted for meaning in one's own life. Let's hope he can find great success without becoming an articulate anachronism. (Joe Ross)



 
BALL SISTERS BAND -
Rivers and Roads
Project One Records C12005
http://cdbaby.com/cd/ballsisters3 OR www.ballsistersband.bigstep.com
EMAIL ballrn@chartertn.net
Playing Time - 40:02
           Songs - 1. There is a Time, 2. Road to Greenbriar, 3. Jesus, Daddy and You, 4. When an Angel Cries, 5. I'll Be Here in the Morning, 6. Holston River Waltz, 7. Where the Bluebird Goes, 8. Beaumont Rag, 9. Bluegrass Dies in the Winter, 10. Green Ivy Vine, 11. Love'll Live On, 12. Old Fashioned Love, 13. Lord Don't Forsake Me, 14. In the Garden
           Playing nearly a hundred shows each year on the eastern seaboard, The Ball Sisters make up for what they may lack in flashy licks by emphasizing solid, down-home family entertainment value. Given their age, they do a mighty fine job. They don't rush their music; they let it breathe to emphasize the passionate beauty of the acoustic tradition. There are no tricks or antics, and thus the arrangements are somewhat understated. Since 1998, The Ball Sisters Band has been showcasing Jessica Ball (fiddle, vocals) and her sister Cris (mandolin, guitar, vocals), accompanied by their father Randy Ball (guitar, vocals) and John Skelton (bass). Jessica and Cris have won awards at fiddle contests, and they have made eight recordings which are played around the world. A recipient of scholarships, Jessica now studies and plays bluegrass at East Tennessee State University. She gives lessons, does studio work, and also plays flute. Besides guitar and mandolin, Cris also plays clarinet, sings in her high school choir, and gives lessons. Give a listen to "Beaumont Rag" to see how she won the Beginners Flatpick Championship at Smitshville, TN.
           On "Rivers and Roads" the band chooses material from a diversity of sources ranging from the Dillards to Townes Van Zandt to Kim Williams who also provided some liner notes for this album. Additional liner notes were written by James Alan Shelton who calls these folks "good, down home people…who love what they do!" Six songs are originals that range from secular ("Road to Greenbriar") to Christian country ("When an Angel Cries") to instrumental ("Holston River Waltz"). The latter is a haunting piece that is a showcase for Jessica's bow work and Cris' tremolo. "Bluegrass Dies in the Winter" is an up-tempo piece that could've been enhanced with some guest 5-string banjo and a third part in the vocal harmony.
           The Ball Sisters Band deserves our support, as their dedication and perseverance will help keep the mountain music tradition alive. As they continue their musical growth and maturity, we can certainly expect some great things from these mountain songbirds in the future. (Joe Ross)



 
ALISON BROWN -
Stolen Moments
Compass Records
916 19th Ave. South, Nashville, TN. 37212
Tel. (615)320-7672
Info@compassrecords.com
www.compassrecords.com
Playing Time - 50:35
           SONGS - 1. The Sound of Summer Running 2. The Magnificent Seven 3. Homeward Bound 4. The Pirate Queen 5. Carrowkeel 6. Angel 7. McIntyre Heads South 8. One Morning in May 9. (I'm Naked and I'm) Going to Glasgow 10. Prayer Wheel 11. Musette for a Palindrome
           Individualism in music is a goal for many musicians who enjoy the challenge of pushing their technical skills into realms of innovation and adventure. The impressively virtuosic Alison Brown has a broad base of experience to draw upon. Her travels have taken her from Connecticut to California to Tennessee. From her earliest bands (The Stringbenders, Gold Rush), the 1991 IBMA Banjo Player of the Year went on to play, record or tour with the likes of Northern Lights, Alison Krauss and Union Station, Michelle Shocked, New Grange, and others. She owns her own record company (Compass Records), and in 1996 formed her Alison Brown Quartet. A bit of trivia is that her tune, "Girl's Breakdown" (from her Grammy-nominated "Fair Weather" album) was used in early 2000 as the official wake up music for the crew of the U.S. Space Shuttle Destiny on their mission to the International Space Station. So what next for someone whose music has reached the depths of outer space?
           "Stolen Moments" is an astounding display of melodic invention that continues to characterize this one-of-a-kind player. Her expressive musicality incorporates elements of many genres from Celtic (her own "Carrowkeel") to pop (Jimi Henrix's "Angel" or Paul Simon's "Homeward Bound" or Jim Rooney/Bill Keith's "One Morning in May"). These pop numbers include some superb vocals that make the album whole (courtesy of folks like Amy Ray, Emily Saliers, Beth Nielsen Chapman, Andrea Zonn). Mary Chapin Carpenter also appears. While credits aren't clear, I assume that she's one of the four singing "Boomchicks" (Thighdalia, Aureola, Ovaria, and Fallopia) who appear on "Prayer Wheel." Instrumental new acoustic jazz is well represented in cuts like "The Sound of Summer Running" and "The Magnificent Seven" (written with John Doyle) that has a seven-beat meter in the tune's head.
           With the exception of "One Morning in May," arranged without banjo, the 5-string finds itself laying just right into the greater ensemble mix while piano, bass, guitar, fiddle, drums, and even a little mandolin create the kaleidoscope of sound. Some of the luminaries picking along include Stuart Duncan (fiddle), Sam Bush and Mike Marshall (mandolin). Mike seems right in his element on Brown's playful "Musette for a Palindrome." Seamus Egan plays an emotive low whistle on one track, "Carrowkell," while the similarly Cletic-flavored "(I'm Naked and I'm) Going to Glasgow" includes Solas guitarist John Doyle. John R. Burr's gives us some superior, jaw-dropping piano accompaniment that evokes a more smooth jazz sound. As much as I dislike drums in acoustic music, Kenny Malone's percussion is downright tasty in this particular context. Alison's husband, Garry West, plays bass.
           Alison Brown is a confident musician who continues to make creative and courageous statements with her music. She's a daring stalwart whose proficient and aqueous banjo playing leaves us with pleasurable aural experiences that know few borders. (Joe Ross)



 
Mini-Review of Advance Promotional Copy (five song sampler):
DIERKS BENTLEY -
Modern Day Drifter
Capitol Records 7243-8-73615-2-2V
3322 West End Ave., Nashville, TN. 37203
EMAIL jane.grimes@echomusic.com
TEL. (800)927-9848
           Dierks Bentley's self-titled debut in 2003 yielded hits in "What Was I Thinkin'" and "How Am I Doin'." Now, his sophomore effort with "Modern Day Drifter" on Capitol has already created quite a buzz, and the opening cut "Lot of Leavin' Left to Do" has really taken off. A driving and rolling 5-string banjo in the mix gives this song a bit of a bluegrass flavoring, and it sets the stage for a savory and delightful presentation that also includes one cut ("Good Man Like Me") with The Del McCoury Band. The rockin' "Cab of my Truck" is a boogying song with energy and velocity, along with some hot fiddle and dobro licks between the drivin' electric guitars and drums. A reflective "Settle for a Slowdown" gives Bentley's emotionally-charged vocals a chance to take center stage. "Domestic, Light and Cold" is, well you guessed it, a drinkin' song with a cute hook. Hey, that's country! (Joe Ross)



 
RALPH STANLEY -
Shine On
Rebel REB-CD-1810
PO Box 7405, Charlottesville, VA. 22906
www.rebelrecords.com
TEL. (434)973-5151 or (615)952-9250
EMAIL tgarber@rebelrecords.com OR nchappy@mindspring.com
Playing Time - 40:04
           SONGS - King Of All Kings, The Roses Will Bloom, The Old Church Yard, This Little Light Of Mine, My Main Trial is Yet to Come, Sing Songs about Jesus, Palms of Victory, On a High, High Mountain, The Lowest Valley, Swing Low, Sweet Chariot, I'll Fly Away, Shine On, Why Should We Start and Fear to Die, Let Your Light Shine Out
           After listening to a number of new acoustic and country releases, I always come back to queue up and appreciate some good old-time mountain music. Ralph Stanley's ‘Shine On" is a bluegrass gospel album that makes us not only treasure musical roots but also to revel in the glory of God. Of course, Ralph Stanley likes to sing gospel. He believes in it, and a lot of others do too. Ralph once said, "We were raised in the churches. We were raised to sing gospel and respect gospel music. I'm not necessarily trying to convert people with it, but it would tickle me if I knew I did. And which, I have got letters and so forth from people that said it had, you know, and I feel good that they do."
           Singing and playing in a lonesome style full of feeling, Ralph Stanley and the Clinch Mountain Boys (John Rigsby, Ralph Stanley II, Steve Sparkman, James Alan Shelton, Jack Cooke) choose material from the traditional canon as well as from contemporary songwriters like Dolly Parton who penned the title cut. Nathan Stanley picks the mandolin on two cuts, Albert Brumley's "I'll Fly Away" and Bill Crawford's "King of All Kings." The elder Stanley sings "The Old Church Yard" solo without any accompaniment. The Clinch Mountain Boys' a cappella quartet is featured on "Sing Songs About Jesus," while "Why Should We Start and Fear to Die" has John Rigsby along with Junior, Marsha and Amber Davis singing harmonies to Ralph's lead vocal. An a cappella trio with hand claps on the chorus is the rendition chosen for "Swing Low, Swing Chariot," a song that Ralph sung at Bill Monroe's funeral. The song, "On a High, High Mountain" is given a lean arrangement of only Rigsby's fiddles to Ralph's recitation. Only guitar and bass accompany Pearlie Mullin's "The Lowest Valley," lead vocals sung by John Rigsby on the verses.
           Many of the songs on "Shine On" have happy, upbeat and joyous themes. This gospel recording has been long awaited. On February 25, 2007, Ralph Stanley will be 80 years old. Although his voice is a bit gravelly or husky in spots on this album, some of that rustic character actually enhances his charm. There is no better message than the message of Jesus Christ. Ralph Stanley and the Clinch Mountain Boys thank God for His guidance. The music on "Shine On" lifts us up, aligns our hearts with God, and will lead others to Him. (Joe Ross)



 
BIG BLUE HEARTS -
Here Come Those Dreams Again
Eagle Eye Records BBH-00593
www.bigbluehearts.com
theband@bigbluehearts.com
TEL. (310)500-5712
Playing Time - 45:26
           Big Blue Hearts is a Los Angeles-based band whose blend of smooth country-pop gives us a popular danceband style of music. Tinges of rockabilly creep in, and it wouldn't hurt for them to get a little more raucous and take a few more risks which I can tell they're fully capable of. Strong vocal and instrumental work characterize this band comprised of David Fisher, Scott Minchk, J.B. Burton, and Greg Sobol. Big Blue Hearts' first album was released in June, 1997 on Geffen Records, and their sophomore effort in "Here Come Those Dreams Again" is long overdue. The production quality of this project is first-rate, and their dreamy and slightly mysterious music incorporates a fair amount of reverb and twangy guitar. Even their songs (such as "Dreamin' of a Woman" or "Here Come Those Dreams Again") have plenty of allegorical references to those mental images and emotions often encountered in various stages of consciousness. "Lovin' You" is the cut being heavily promoted to radio, and a June/July Texas radio tour will kick off the release of this project.
           David Fisher's prolific songwriting (or co-writing) is showcased on all ten songs, and his singing is full of heart, body and soul. With a few more honest tearjerkers and ballads, I could see this band really creating a sizeable and fanatical international following. They have fascinating appeal potential that's immediately likeable and very enticing. Big Blue Hearts have created a sense of intrique with enchanting songs and resplendent stories of evasive love. (Joe Ross)



 
THE LINVILLE RIDGE BAND -
Hopes and Dreams
Linville Mountain Music 4537
TEL. (828)438-9470
www.linvilleridgeband.com
EMAIL mikeld@charter.net
Playing Time - 33:44
           Together since 2002, The Linville Ridge Band takes their name from a significant geographic landmark near their western North Carolina home which is also known for a rich traditional and bluegrass music heritage. Preserving this heritage is one of the goals of band members Aaron Ramsey (guitar, dobro), David Wiseman (mandolin), Perry Woodie (banjo, dobro), Michael Ramsey (bass). Three of the musicians had previously performed for a decade in the band, Damascus Road Acoustic Gospel. Playing his Lebeda mandolin, Aaron won the 2002 Merlefest mandolin contest.
           All four are snazzy pickers who also share the lead vocal responsibilities on 2-3 songs apiece. While none of them have simply killing knockout voices, they capitalize on their individual vocal strengths to arrange each song for maximum benefit. Also, more emotion seems apparent when a songwriter sings his own compositions as Mike Ramsey does on "Life Him Up" and "When Uncle Came Home from the War." The latter, sung with his son Aaron, is a hard-hitting ballad which tells the story of Mike's great-uncle returning from World War II with some provocative questions about the sacrifices and value of war. Perry Woodie penned four originals for this project, and he sings lead on the opener "I've Lost the Will to Try" which is a good song with the potential to be covered by a national bluegrass act. Woodie's "Time is a Healer" is a contemporary bluegrass composition with some good insight and advice when loves goes wrong. Woodie also wrote the flashy instrumental "Spanish Oak," a high-test offering that allows the banjo, mandolin and guitar players plenty of room to demonstrate their adept, nimble-fingered skill. Some of the songs on "Hopes and Dreams" could've been embellished with a little hot fiddling, either by Wiseman or a guest artist. They take this approach on "Old Joe Clark" by featuring David's fiddling, as well as enlisting the support of their friend and octogenarian Herb Lambert on mandolin.
           The Linville Ridge Band performs primarily in North Carolina, but they also occasionally travel further afield to appear throughout adjacent southeastern states. With a variety of traditional, contemporary, and Gospel material in their repertoire, the group offers plenty to thrill audiences. The album also confirms that bluegrass is deep within their hearts. (Joe Ross)



 
ELI YOUNG BAND -
Level
Carnival Recording Co. 370002-2
24 Music Square West, Nashville, TN/ 37203
www.eliyoung.net OR www.carnivalrecording.com
EMAIL jane.grimes@echomusic.com OR info@carnivalrecording.com OR info@eliyoung.net
cclay@carnivalmusic.net OR heather_bohn@bellsouth.net OR Troy@mustangmusicgroup.com
TEL. (800)927-9848 OR 615-259-0841
Playing Time - 44:14
           The sonic alchemy of the Eli Young Band transforms an eclectic variety of folk, country, metal, grunge, and rock influences into their own high-grade gold. Based in Texas, the band is poised to build their legion of fans throughout the region, then nationally and internationally. The opener, "Small Town Kid," is a ballad about having a simple story, being driven by rock and honky-tonk music and needing nothing more than a good-looking lady, a truck and some occasional whiskey or tequilla. All twelve songs on "Level" are originals written by the band that is fronted by the guitarists and vocalists Mike Eli and James Young. The rest of the group is Chris Thompson (drums) and Jon Jones (bass). Like Young, Jones also contributes background vocals. Guest artists include Milo Deering (pedal steel), Erik Herbst (guitars), Vince Barnhart (vocals), and Tommy Young (Hammond B-3 organ).
           Hailing from Denton, Texas, the quartet has the potential to make some significant impact on the alt-country rock market. Their material addresses some common themes -- love, heartache, pain, loss and desperation. Circumspect, yet still deliberate, each song seems to take a life of its own. Many are full of sadness or despair, and I wouldn't mind hearing a few more happy, uplifting songs from them. "When It Rains" suggests that if you "start out depressed then everything comes as a pleasant surprise."
           The title cut, "Level," doesn't appear until track five, and has a catchy melodic guitar riff and snappy bass line as Eli sings "waiting on life to level, waiting on something stable, maybe soon I'll be able, to rest my head again." The improvisational jamming that takes place at the end of the song kicks butt. An acoustic flavor is a nice opening reprise on "Everything is You," with its nostalgic recollection of lasting memories of another. Thompson's drumming provides a technically impressive rhythmic intensity to "Girl in Red." The album ends on a particularly strong note with some of their most engaging and reflective songs, "Highways and Broken Hearts" and "Bottom Line."
           The Eli Young Band writes, arranges and presents music that will especially appeal widely to a younger demographic that is looking for thoughtful messages in their non-mainstream listening. Recent music I've heard from the Texas and Oklahoma region often has a rebellious, almost defiant, flavor. With some top notch production, label and touring support, The Eli Young Band will definitely turn some heads. Let's hope that their songs are distinctive and provocative enough to land them a few lasting hits. The support garnered from their devoted and enthusiastic fans will be the ultimate test and decide whether they make it to the big time. (Joe Ross)



 
GOSPEL FLATPICKING GUITAR MADE EASY
By William Bay
Book/CD MB20876BCD
ISBN 0-7866-6053-8
$ 14.95
Mel Bay Publications, Inc., #4 Industrial Drive, Pacific, Mo. 63069
Web: http://www.melbay.com
email@melbay.com
32 pages
           Aimed at beginning flatpickers, this collection of 15 gospel songs includes standard notation and easy-to-read guitar tablature. Included are such favorites such as Angel Band, Blessed be the Name, I Feel Like Traveling On, In the Garden, Just Over in the Gloryland, Life's Railway to Heaven, The Unclouded Day, and Where the Soul Never Dies. The companion CD has one track for tuning, then each piece is played twice. First, each song is presented with the flatpicked guitar solo and accompaniment. Then, a back-up track is given so that the guitarist can practice the piece. Because of their brevity, I doubt that the accompaniment tracks would have much utility for a church or other performance. All of the songs are short pieces of one page each, and lyrics are included for each but not sung on the CD. All of the 15 songs are in the same key (G), and some variation might have been nice for singers whose voices prefer other keys. (Joe Ross)



 
FAVORITE AMERICAN RAGS & BLUES FOR FIDDLE
By Stacy Phillips
Book MB20581
ISBN 0-7866-6920-9
$ 12.95
Mel Bay Publications, Inc., #4 Industrial Drive, Pacific, Mo. 63069
Web: http://www.melbay.com
email@melbay.com
72 pages
           Stacy Phillips' "Favorite American Rags & Blues for Fiddle" is a tune book aimed at helping one increase their repertoire. Drawing from a large variety of sources, there are over 100 mostly public domain tunes, in standard notation, that represent various geographic fiddling styles in the U.S. Phillips learned the tunes from recordings, at fiddle contests, jam sessions, dances and meeting with other fiddlers. A specific fiddler is identified with each tune. There are old-time, Texas, western swing, and bluegrass fiddlers listed. One would need to possess a very extensive collection of fiddle music to have these tunes on albums. Therefore, the book would be most useful to music readers who don't necessarily need recorded version to learn the tunes. A CD would've been nice to hear recorded versions of all the tunes. Bowings, fingerings, and guitar chords are provided. Thus, this book is a great reference guide to add some new tunes to a fiddler's repertoire. (Joe Ross)



 
GETTING INTO BLUEGRASS MANDOLIN
By Dix Bruce
Book/CD MB20099BCD
ISBN 0-7866-6688-9
$ 17.95
Mel Bay Publications, Inc., #4 Industrial Drive, Pacific, Mo. 63069
Web: http://www.melbay.com
email@melbay.com
96 pages
           Dix Bruce's easy-to-follow book/CD set will quickly get you playing bluegrass mandolin. After discussing the essentials of tuning and holding the instrument, Bruce delves into chords, rhythm, single note playing, double stops, fiddle tunes, playing in all keys, playing backup, transposing, kickoffs, turnarounds, and tremolo. Classic bluegrass songs and fiddle tunes are used to demonstrate the various techniques, and in the course of using the book you'll also increase your repertoire. Plenty of standard jamming fare is included such as Rolling in my Sweet Baby's Arms, John Hardy, East Virginia Blues, Nine Pound Hammer, Bank of the Ohio, In the Pines, Long Journey Home, and many others. It's a good format to present the song's basic version, followed by its solo at slow speed, then its solo up to speed. Fiddle tunes explored include Old Joe Clark, Ragtime Annie, and Liberty. When the fiddle tunes are introduced, Bruce also addresses eighth notes and the use of up and down strokes with the pick.
           An example of one helpful lesson presented is the "Moveable Blues" in closed position. After learning some bluesy bluegrass licks in the key of G, you'll learn how to move the melody to any key. Because all the notes are fretted and recommended fingerings are shown, the melody is easily moved. It is a good exercise for mobilizing your pinkie, learning to use triplets, and developing skill for improvisation. Bruce even suggests, but doesn't demonstrate, how playing the blues with down strokes will get a Monroesque feeling. This book presented a clear, concise, well organized approach for beginners to learn bluegrass mandolin basics. (Joe Ross)



 
VARIOUS ARTISTS -
Fresh Faces at Merlefest 2005
PO Box 120, Wilkesboro, NC 28697
800-343-7857
merlefest@wilkescc.edu
www.merlefest.org
Playing Time - 45:00
           Songs - Hayes Carll - Chickens, John Jorgenson - F.A.Swing, Caroline Herring - Trace, The Duhks - Dance Hall Girls, The Greencards - Love's A Word I Never Throw Around, The Wayfaring Strangers - Don't Put Off 'til Tomorrow, Knig Wilkie - Broke Down And Lonesome, Allison Moorer - I Ain't Giving Up On You, Gigi Dover - Back When We Were Young, Cathy Fink & Marcy Marxer - Hopelessly In Love, BR549 - Tangled In The Pines, Daybreak - Gone For Dreaming
           Music lovers with eclectic tastes will delight in Merlefest's sampler of its "quality diversified American roots based musical experience." The festival's third Fresh Faces album samples tracks from featured performers at the annual Bluegrass and Americana event in Wilkesboro, N.C. which is a tribute to Doc Watson's late son, Eddy Merle Watson, who died as the result of tractor accident in 1985. The first Merlefest took place as a benefit concert in 1988. Fresh Faces 2005 is a fine sampling of styles and acts who will either make their debut in 2005 or who haven't performed there for some years. While some have already established their reputations, others are emerging, high potential artists who are garnering considerable high acclaim.
           The challenge with any CD that presents such a variety is to organize the material so that the overall product provides a pleasing and entertaining aural journey. With such a disparate sampler, it can be a formidable task to produce a coherent flow from start to finish. That is my primary criticism. As an example, sandwiching Allison Moorer's and Gigi Dover's electric tracks between the acoustic King Wilkie and Cathy Fink/March Marxer songs can be problematic. Alternating these acoustic and electric offerings has the same effect as trying to mix oil and water.
           The strength of Merlefest's 2005 Fresh Faces release, however, is that it is an effective promotional tool for the festival, as well as an interesting souvenir for fans and attendees.
           A person's limited time can be maximized with this exploration and discovery of twelve artist's music. One certainly has to appreciate the diverse nature of this music festival which doesn't operate within confined sideboards. They support many up-and-coming groups and performers that push the envelope within multiple genres of music. Merlefest clearly has a strong commitment to diversity, a good thing in a multicultural society with disparate musical preferences. The 45 minutes on this sampler includes a mix of blues, gypsy jazz, singer/songwriter, old-time, Celtic, bluegrass, folk, rock, country, rockabilly and honky-tonk influences. That's a heck of a lot. Imagine what you'll experience live at the festival!
           Merlefest offers a little something for everyone. Focus on the unique character of each performer sampled, and try to broaden your own musical horizons. .If your musical preferences are very clearcut and confined, then you may only like a few tracks on this CD. If you're in the market for a jambalya of simmering music, check out Fresh Faces. There are other Fresh Faces and Live! albums on-line at the Merlefest website store http://store.merlefest.net (Joe Ross)



 
HAYES CARLL -
Little Rock
Highway 87 Music, No number
PO Box 23050, Nashville, TN 37202-3050
INFO: Kissy Black, Lotos Nile Media, (615)598-0229, kissyblack@comcast.net
Playing Time - 40:11
           Hayes Carll is a Texas singer/songwriter who describes himself as a "twisted folk singer." I don't find him particularly perplexing because his songs reveal a fair amount about his life, friends, and wry wit. The places he's lived over the years are mentioned in the opener, "Wish I Hadn't Stayed So Long." He wonders about some of his closest high school buds in "Good Friends." And just about everything else is referred to in the tongue-twisting "Down the Road Tonight" from thrift store cowboys to panty droppers, and pill poppers to his grandmother. Little Rock is a followup to Carll's 2003 release "Flowers and Liquor," and his sophomore effort offers a nice mix of varied tempos and diverse messages to keep a listener rapt and attentive. The title cut, about Arkansas, is a rocking story about Carll's search for "a piece of this earth for my peace of mind." With emotive voice, the singer also ably handles the rawboned ballad, "Long Way Home," or quiet lullaby "Take Me Away." Of special note are the compositions written in collaboration with Ray Wylie Hubbard ("Chickens"), Guy Clark ("Rivertown") and John Evans ("Sit in with the Band" and "Take Me Away"). Some songs have a tender side, while others are raucous.
           While Carll chose to independently release Little Rock, his personalized sound and work eithic (over 200 appearances in 2004) have attracted the interest of major labels. Produced by R.S. Field, Little Rock features a bevy of good musicians. Alison Moorer and pedal steel player Bucky Baxter assist on vocals, and I wish that some of the songs had been arranged with a few more harmonies. Other musicians who lay down the Texas groove include Kenny Vaughn (guitar), Jared Reynolds (bass), Jimmy Lester (drums), R.S. Field (percussion, drums, guitar), Adam Landry (guitar), and George Bradfute (bass).
           Carll has been on the road with Joe Ely, Todd Snider, Slaid Cleaves and Ray Wylie Hubbard. He's also played Merlefest and the "Texas Revolution" at the Southfork Ranch in Dallas. Hayes Carll is a bit of a renegade who is strongly individualistic, confident and independent. As long as he succeeds in getting his music out there and heard, Carll's on a certain road to headline status in the Texas music scene. He's well on his way as I understand that Hayes went #1 on the Americana radio chart in April, 2005 - a feat never before accomplished by a self-released artist. (Joe Ross)



 
JOHN REISCHMAN & THE JAYBIRDS -
The Road West
Corvus 012
2030 Nootka Street, Vancouver, B.C. Canada V5M 3L9
johnreischman@shaw.ca
www.johnreischman.com
TEL. (604)761-2754
Playing Time - 47:34
           Songs - 1 Roustabout 2 Hop High My Lulu Gal 3 Home Sweet Home 4 Sandy Boys 5 Travelin' the Road West 6 In the Fall 7 Deep Dark Sea 8 Blackberry Bramble 9 Liza Jane 10 Old Reuben No. 1 11 Allens Creek 12 You'll Find Her Name Written There 13 Troubles 14 The Homecoming 15 As Time Draws Near 16 Crowberry
           With a solid band that hasn't undergone any personnel changes for years, John Reischman and the Jaybirds demonstrate how a bunch of great pickers and singers can get even tighter and more cohesive as time goes on. Known for their well-chosen and arranged material, presented in expert fashion, this group continues to thrill us with musicality and verve. The 16 songs cover a great deal of territory, but they always stay true to bluegrass sensibilities despite a few side excursions into old-time and folk presentations such as "As Time Draws Near." If they cover a traditional number like "Sandy Boys" or "Liza Jane," the Jaybirds brand it with their own unique musical mark. And their repertoire has no dearth of original material that is characterized by upbeat instrumentals and evocative songs spotlighting their two lead vocalists, Trisha Gagnon (bass) and Jim Nunally (guitar). Nunally's title cut was inspired by Steinbeck's Grapes of Wrath and some of his own family's dust bowl history. Gagnon's "Blackberry Bramble" captures some favorite childhood memories. Mandolinist Reischman typically adds baritone or low tenor harmonies, but it's nice to hear him sing lead to Jim's tenor on "Old Reuben No. 1." Rounding out the band in fine form are Nick Hornbuckle (banjo) and Greg Spatz (fiddle) who both know how to provide just the right amount of winsome accompaniment.
           The third album from John Reischman and the Jaybirds is a very strong, tastefully-rendered project. It solidly reinforces this band's place as one of the most engaging and dynamic acts in the western bluegrass scene. Much of the fervor in their sound is a result of their charged-up instrumental support and adventurous escapades built from older music that has considerable roots. (Joe Ross)



 
JIM KANAS -
Take the El
Common Place, 2. Take the El, 3. Uncle Pete's Sonic Tour, 4. Milledgeville Stomp
Information@jimkanas.com
TEL. (815)562-4553
www.cdbaby.com OR www.jimkanas.com
Playing Time - 16:49
           From a small town in rural northern Illinois, Chicago-based jazz guitarist Jim Kanas called upon seven of his musical friends to record these four original compositions. Besides guitar, Kanas plays some Maurer harp guitar and synth guitar/organ. The others who add flugel horn, piano, percussion, drums, and bass include Scott Mertens, Doug Bratt, Doug Lofstrom, Dan Shapera, Henry Boehm, Terry Connel, and Rubén P. Alvarez. The smooth music is cohesive and played with plenty of gusto. Each piece has some enchanting moments, such as Connel's fluid playing in "Common Place," Merten's impressive piano in "Take the El," Kanas' lyrical harp guitar in "Uncle Pete's Sonic Tour," and toe-tapping melody and entire band's improvisational skills in "Milledgeville Stomp."
           Jim Kanas has a very strong resume, and I'm surprised that a major jazz label hasn't taken more notice of this hard-working musician. His bio indicates some very impressive collaborations and awards. His educational background even includes a unique interdisciplinary music performance degree from Northern Illinois University in contemporary guitar, commercial music and American folk instruments. "Take the El" foreshadows a longer project by the same title coming soon, and it also complements the acoustic-oriented "Jimmy & the Swingers" album that Kanas released in 2003. This 4-song EP stimulates our taste buds for the longer project, and it's definitely worth picking up to experience the singularly impressive guitar talents of Kanas. (Joe Ross)



 
DOYLE LAWSON -
You Gotta Dig a Little Deeper
Rounder 11661-0557-2
www.doylelawson.com
Lauren Calista at 617.218.4483, email lcalista@rounder.com or Kay Clary at Commotion PR, 615.467.6677, email kay@commotionpr.com
Playing Time - 39:19
           SONGS - 1)Heartbreak Number Nine, 2)Four Walls, 3)The Girl in the Valley, 4)You Gotta Dig a Little Deeper, 5)Saving Grace, 6)Rosine, 7)Girl from West Virginia, 8)Blues for My Darling, 9)Love Me as You'd Love the Rain, 10)What Ain't to Be, Just Might Happen, 11)Oak Valley Girl, 12)When I'm Knee Deep in Bluegrass
           "You Gotta Dig a Little Deeper" marks Doyle Lawson's new affiliation with the Rounder Records label, and this secular recording is full of truly zestful bluegrass. Let's recall the early history of Lawson's band. In 1979, Lawson put Quicksilver together with banjo player Terry Baucom, guitarist Jimmy Haley, and electric bass player Lou Reid. The band signed with the Sugar Hill Records label the following year, and they released the albums Quicksilver, Rock My Soul, Quicksilver Rides Again, Heavenly Treasures, and Once and for Always. After rededicating his life to Jesus Christ in 1985, Lawson recorded the all-gospel "Beyond the Shadows" with new players Scott Vestal (banjo), Curtis Vestal (electric bass), and Russell Moore (guitar). It was momentous occasion that indicated the band's ability to continue to set a high standard for bluegrass gospel music. The "Beyond the Shadows" reissue in 2004 marked an impressive and prolific long-term relationship that has resulted in 24 albums in as many years for this fine group that features well-blended vocal harmonies and arrangements.
           Lawson's gospel (and secular) albums are consistently best sellers because their recipe for success has always been to present an excellent variety of material that appeals to the young and the old. As an example of this approach, let's analyze the songs on his 25th album - the secular "You Gotta Dig a Little Deeper" release now on the reputable Rounder Records.
           With all his years in the business, Lawson clearly knows the successful recipe for a high-octane sound. Most impressive are the band's splendid choice of material, straightforward picking, and euphonious vocals. The latter is what really sets this band apart from the rest of the pack. Over the years, Doyle Lawson and Quicksilver have won four Vocal Group of the Year awards from the International Bluegrass Music Association. I like to see liner notes clearly identify who is singing, and this is an unfortunate omission here. Yet, we know that the band includes Doyle Lawson (mandolin, guitbro, lead guitar, vocals), Jamie Dailey (guitar, vocals), Barry Scott (bass, vocals), Jesse Stockman (fiddle), and Terry Baucom (banjo, vocals). Truly, they're one of the strongest quintets in bluegrass today. Guest Glen Duncan fiddles on "Saving Grace," a slower song which (along with "Oak Valley Girl") best typify their cohesive well-blended trio. The latter incorporates some tasty fills played by Doyle Lawson on guitbro (an instrument which is a cross between guitar and dobro).
           Fans of Doyle Lawson know that he has 40 years experience in bluegrass. The title cut (by Carl Caldwell) is a strong reminder that perseverance and hard work will yield bountiful rewards in life. That cut is characteristic of a general theme throughout this album - the songs have plenty of meaningful messages. Quicksilver's guitarist (Jamie Dailey) and bass-player (Barry Scott) penned the opener, "Heartbreak Number Nine," that speaks to having to get out of town with a one-way ticket when true love doesn't materialize. Another Dailey composition, "The Girl in the Valley," is about a desire to rekindle a relationship with an old flame. If adroit picking is your cup of tea, you'll be very thrilled by Baucom's banjo work on "Girl from West Virginia," along with the Lawson's crisp, driving mandolin on his self-penned "Rosine," a tribute to Father of Bluegrass Bill Monroe's birthplace. Lawson is a first-class mandolin stylist in the bluegrass genre, and his instrumental expertise has been highly highly regarded and imitated.
           Quicksilver's kaleidoscope of sound includes bang-up bluegrass, classic country, and gospel. Besides the originals, their diverse repertoire draws material from Jim Reeves ("Four Walls"), Porter Wagoner ("What Ain't to be, Just Might Happen"), Pete Goble and others. A band noted for vocal distinction also serves up quality instrumental work. In sum, it's a thoroughgood project that deserves a place in the top ten of bluegrass for 2005 releases. As they sing about in the closing number composed by Pete Goble, this band is clearly "knee deep in bluegrass." (Joe Ross)



 
THE BADLY BENT -
High Energy Traditional Bluegrass
No label, no number
11796 County Road 250, Durango, CO. 81301
TEL. (970)259-6762 or 946-6345
info@thebadlybent.com
www.thebadlybent.com
Playing Time - 51:58
           Songs - 1. Cold Sheets of Rain, 2. Same Old Bluegrass Story, 3. Where's That Cold Wind Come From?, 4. Dusty Knob, 5. Rank Strangers, 6. Brown Mountain Light, 7. Spinning Wheel, 8. Love Me or Leave Me Alone, 9. If That's The Way You Feel,10. More Dollars Than Sense,11. Butcher Boy,12. Remington Ride,13. Coal Tattoo, 14. Grandfather's Clock
           Based in Durango, Colorado, The Badly Bent demonstrates that they are a very solid regional band with plenty to enthuse a far wider national bluegrass audience. They clearly have a bluegrass bent, along with plenty of inherent passion for the music. With a contemporary edge, The Badly Bent pushes the interpretive envelope, especially when they are presenting originals such as "Where's That Cold Wind Come From?," "Dusty Knob," and "More Dollars Than Sense." Special guest Cindi Trautmann sings the former. The second is an instrumental that accelerates when composer and banjo-player Mark Epstein brings it home. The latter song bursts with hustle, and their racing performance reaches a smoldering extreme for the band's capabilities. The band also draws material from the likes of Randall Hylton ("Cold Sheets of Rain"), Bill Bryson ("Love Me of Leave Me Alone"), The Wright Brothers ("Same Old Bluegrass Story"). While other songs are from Ralph Stanley and Albert Brumley, the band definitely branches into other territory further afield than their album's "traditional bluegrass" subtitle might suggest.
           Produced by Sally Van Meter, The Badly Bent's debut album is chock-full of zeal and velocity. Nimble-fingered Indiana native Mark Epstein is a masterful banjo-player, especially as he tears up a standard like "Remington Ride." Epstein has thirty years of experience as a musician and was a recent guest with the San Juan Symphony Orchestra. The rest of the band includes Bill Adams (resonator guitar), Rob Brophy (mandolin, vocals), Patrick Dressen (guitar, vocals), and Jeff Hibshman (bass). Adams is originally from South Carolina and took up resonator guitar in 1992. Brophy is a Colorado native who earned an associates degree in bluegrass music from South Plains College in Levelland, Tx. Dressen, originally from South Dakota, has lived in Colorado since 1967. He's the 1991 Colorado flatpick guitar champion and 1994 Rockygrass mandolin champion. Hibshman, a founding member of The Badly Bent, recently returned to the band as their rock solid, innovative bassist. Some of their most soulful renditions are those featuring guest Cindi Trautmann's fiddling and vocalizing ("Butcher Boy").
           This band has a bad case of bluegrass enthusiasm. Collectively, they give us some charged-up music on a generous 52-minute album that will turn some heads. It's gratifying to know that they are receiving considerable airplay around the world on both standard and internet-based radio. Stay tuned for more excitement from this Colorado band. (Joe Ross)



 
LARE WILLIAMS -
A Name of My Own
No label, no number
2143 Sandy Shore Dr. #104, Kentwood, MI 49508
TEL 616-690-0544 (cell)
www.larewilliams.com
LareWilliams@comcast.net OR LWNDband@yahoo.com
Playing Time - 40:07
           Songs - 1. Please Take Me With You 2. Old Guitar 3. The Door Won't Be Open Anymore 4. It Doesn't Matter Anymore 5. River of Jordan 6. Changing Town 7. Back to the Bar Rooms 8. Your Hand Came Down 9. Just Like You 10. I Don't Care 11. The Longer You Wait 12. Gospel According to Luke 13. F.Y.O.B 14. Don't Pass Me By
           Lare Williams hails from the Wolverine State, and this young Michigander whose name rhymes with "flair" is building a strong bluegrass following in that region. His third album has a nice mix of originals and covers. Written in collaboration with Sara Lee Rehkopf, Lare's "Old Guitar" is getting some good national airplay as a result of being featured on Volume 74 of Prime Cuts of Bluegrass. Other originals on the CD include "The Door Won't Be Open Anymore," "Changing Town," and "F.Y.O.B." The two songs on the disc written by Bert Jones and Jeffrey Schuhmacher are also "originals" in the sense that they have never been released by any other artist before. Covers are drawn from the material of Paul Anka, Merle Haggard, Cindy Walker/Webb Pierce, Skip Ewing/Don Sampson, and Ringo Starkey.
           Lare Williams sings with a pleasant, relaxed vocal delivery that has unique and heartfelt flair. On this project, vocalist Patty Williams does an enchanting rendition of "It Doesn't Matter Anymore." Other vocalists assisting include Ronnie Bowman and Garnet Bowman. Instrumental support is provided by Randy Kohrs, Jesse Cobb, Scott Vestal, Stephen Mougin, Jeff Hall, Aaron Till, Kevin Gaugier, Tony Zapolnik, Steve Boling, and Peter Knupfer.
           Lare Williams once told me that he plays bluegrass music because it's in his blood. He appreciates the fans and the help he's received from others involved with the music. Williams is a fresh, new, young talent on the music scene who has the skills and business acumen to make a much bigger name for himself within bluegrass circles. He fronts a band called "Lare Williams and New Direction." With a little luck and a lot of hard work, the band could go places. Williams clearly shows a knack and aptitude for singing, playing and producing solid bluegrass music. Lare was only two years old when he began picking and singing with his family band.
           Still in his 20s, Lare has two previous albums out --"Play What?" (in 2000) and "Grandpa John" (in 2002). These previous releases have featured Patty's singing, as well as songs written by Bert Jones and Sara Lee Rehkopf. Lare's latest album, "A Name of My Own," elevates his music's professionalism by enlisting some consummate Nashville-based session players. Lare is dedicated to this music, and he continues to strongly support his family's bluegrass tradition. (Joe Ross)



 
ALL4HYM -
I've Come to Take You Home
No label, no number
4496 Howellsville Road, Front Royal, VA. 22630
TEL. (540)636-6906
EMAIL kreitzer@adelphia.net
Playing Time - 39:54
           All4Hym is a 6-piece bluegrass gospel group based in Front Royal, Virginia (near Chester Gap). Their third album, I've Come to Take You Home, has a fresh, honest sound that lifts the spirit. Emphasizing passion and respect, their Christian messages don't proselytize, yet they are able to provide spiritual guidance and direction. Their leisurely approach conveys their music masterfully without any tricks or antics.
           All4Hym formed as a trio in 1997. The band now includes Chester Kreitzer (rhythm guitar, vocals), Terri Kreitzer (vocals), Cory Kreitzer (mandolin, vocals), Aaron Murphy (lead guitar, dobro), Dan Murphy (bass, vocals), Buddy Dunlap (banjo, fiddle, lead guitar). Husband and wife Chester and Terri Kreitzer host a weekly one-hour "Bluegrass Link" radio program on WTRM. Their son, Cory, is an accomplished mandolinist and tenor singer. Twin brothers Dan and Aaron Murphy are both talented multi-instrumentalists. The band plays schools, fairs, campgrounds, singing conventions, festivals, theme parks, markets, and community centers.
           To bring the word of God through their ministry of bluegrass gospel music, All4Hym chooses material from Charlie Monroe, Hank Williams, Jeff Weeks, Ronnie Bowman, Gretchen Peters, Ron Block, Irl Hees, and others. All4Hym has some exhilarating and heartfelt gospel messages, complemented by adept picking. Their repertoire would be well received at venues with various age groups represented. The rousing and spirited sound of All4Hym is sure to please and be inspirational. (Joe Ross)



 
PETE GOBLE -
When I'm Knee Deep in Bluegrass
Fireheart Records FHP7349
PO Box 1482, Goleta, CA. 93116
TEL. (805)687-7949
EMAIL chris@fireheartpro.com
www.fireheartpro.com
Playing Time - 44:50
           Born in Prestonsburg, Kentucky in 1932, Pete Goble left there at age sixteen for work in a Michigan steel mill. A natural songwriting talent, Pete has penned splendid songs for The Osborne Brothers, Country Gentlemen, Doyle Lawson & Quicksilver, McPeak Brothers, Shenandoah Cut-Ups, Bluegrass Cardinals, Bill Harrell, Lost and Found, IIIrd Tyme Out, Mountain Heart and many others. Goble's imagination and keen observation of people help him express feelings so precisely and clearly that we are touched and uplifted by his messages. The songs on this album are straightforward, easily understood, and simply make you feel good after hearing them. Goble once told me, "I just sing them straight. I try to tell a good story. I want to make it like you've just read a book."
           Pete Goble was first hooked on bluegrass when he heard Flatt and Scruggs' "Down The Road." He started writing songs in 1957 with his first few being "You'll Be a Lost Ball," "I'll Drink No More Wine," and "I'll Never Take No for an Answer." An early songwriting partnership with Bobby Osborne led to such hits as "Big Spike Hammer" and "Son of a Sawmill Man." In 1961, Pete met longtime friend and collaborator Leroy Drumm. Writing together since 1971, the team has penned such bluegrass favorites as "Georgia Girl," "Julie Ann," "I Won't Need Your Nine Pound Hammer," and "Blue Virginia Blues."
           In late 1986, Pete Goble and Bill Emerson released a highly-acclaimed album entitled "Tennessee 1949" (Webco WLPS-O123). They followed that with "Dixie In My Eye" (Webco WLPS-0128) in 1989. Now retired and with the four children out on their own, there's more time for songwriting, performing, and just "living on the farm." While loving Michigan, Pete's memories of Kentucky show up in his songs. As the album's title cut (inspired by Bill Monroe's 1958 Decca LP) exclaims, "Any part of ol' Kentucky is home sweet home to me. Knee deep in bluegrass is where I'm gonna be." Even Pete's publishing company, Brandykeg, is named after his "little place in Kentucky...just a mailing address, you might say."
           Pete Goble's songs are sincere, honest and unpretentious. "I guess we have to be dreamers to some extent, but I must say that it helps when you've lived the song, and believe me, I have lived some of the songs we've written about," offers Pete. "A successful songwriter can recognize another's hurt and write about it. You can take a common subject, love for example, and write about it a little differently than anyone else. There are many ways to explain love but no sure way."
           Songsmith Goble describes the pain, misery and hurt of lost love in "The Whole World Must be Knowin'," but he also gives us plenty of advice and words of wisdom in other songs. The opening track takes a leisurely approach to presenting a warm, fulfilling tale of how to beat a broken heart. Facing the realities of lost love and getting over heartache are central to "Janie's Really Gone," "Lesson in Love," "Roses Remind Me of You" and "What About Tomorrow."
           "Highlander's Farewell," "Call of the Whippoorwill," and "Too Close to the Flame" provide us with some insights about love whether they be a soldier's parting words, a forlorn ballad of scandal and murder, or a new lesson learned. For a funny take on that familiar subject, listen to "Lovin' Ain't Been Easy on my Mind."
           Over the years, Goble has shown an affinity for songs about hobos and rambling, and "Born to be a Drifter" is a wistful variation on the theme. "It's Too Late Now" is a nostalgic treatise about mistakes made in life. Even though a musician has to pay his dues on the road, Pete says "Thank God for the Highways" that lead back home.
           Emphasizing true feeling and emotion, the songs on this album present concepts and themes that people can relate to. In addition to his masterful songwriting, Pete Goble is a solid bluegrass guitarist and singer. A truly touching experience, his music conveys warmth, encouragement and optimism. His songs are subtle yet respectful. They offer a little something for everyone. Pete Goble has some ambitious future plans that call for recording additional albums and touring with his band, Jubilee Road. (Joe Ross)



 
JERRY DOUGLAS -
Dobro Techniques (DVD)
Homespun Video DVD-DOU-DB21
Box 340, Woodstock, NY 12498
TEL (800)33-TAPES
www.homespuntapes.com
90 minutes
           Jerry Douglas' name is synonymous with exceptional dobrology. His evocative resophonic guitar playing is characterized by influences of bluegrass, jazz, classical, Celtic and new acoustic music. His aqueous compositions give us a hint as to how Jerry Douglas earned his nickname "Flux." In large thanks to him, the dobro has grown in popularity, and we are seeing more kinds of music incorporate the instrument. Jerry's "Dobro Techniques" was originally released on videotape in 1989. Now on DVD, the lesson has been updated to include a new introduction and interview recorded in 2004. The master musician shares some effective techniques and unique sounds that have characterized his award-winning playing and have made him a legend among acousticians.
           After listening to Jerry play "Monkey Let the Hogs Out" and learning how to tune up, Douglas presents the basics of proper left and right hand positions, bar pull-offs and hammer-ons and a variety of right hand picking patterns. The lesson then addresses important techniques such as forward and reverse bar slants, banjo rolls, string pulls and how to combine rolls in complex picking sequences. The DVD could have had more on scales, but the rolls are great as are the slants and other techniques. All of the techniques are brought together in detailed, note-by-note breakdowns of three tunes: Fireball Mail, Cincinnati Rag and Banks of the Ohio. The tablature for these tunes could have included fingering to use (ie. thumb, middle, index) as well as accompaniment chords. Jerry's clear and concise teaching style, along with invaluable tips on musicianship, attitude, instruments and equipment, will help you become a better player. By developing bar control, fingerpicking skills, licks and song arrangements, you'll gain insights and abilities that will bring your playing to a new level of proficiency and expertise. The double views showing both hands simultaneously were very helpful.
           Jerry Douglas' playing has always been full of excitement and energy. With the basic techniques on this DVD under your belt, you'll be ready to spice up songs with your own artistic interpretations. I hope that he'll consider making a sequel to this lesson. (Joe Ross)



 
MITCH HARRELL -
Oh Heart
SoLong Records, no number
938 St. George Barber Road, Davidsonville, MD. 21035
TEL. (410)212-2019
EMAIL bluegrassmitch@comcast.net
www.mitchharrell.com
Playing Time - 50:56
           With the exception of three songs (Bluegrass on my Mind, Big Train, Bible Tells Me So), this album presents a large body of first class original material written and sung by Mitch Harrell, son of bluegrass legend Bill Harrell. Mitch grew up in Riverdale, MD. with Dale and Don Wayne Reno who both assist on this album. In high school, Mitch joined his father's group, Bill Harrell & the Virginians, in which he played guitar and sang tenor for a decade. Then he started his own band, Mitch Harrell and SouthRiver Express. Emphasizing original material, Mitch has succeeded in creating his own style and identity. In 1990, Mitch was the first artist signed by Pinecastle Record and is attributed by some as "the reason for Pinecastle's existence." Tom Riggs, a radio personality and promoter from Florida, was so impressed with Mitch's talent that he decided to start a record company. Mitch now lives in Annapolis, MD.
           A solid guitarist, Mitch Harrell also sings most vocal harmonies on this project. Dale Reno plays mandolin, guitar, and sings bass on "Bible Tells Me So." Don Wayne Reno plays banjo, lead guitar, and sings baritone on "Big Train" and "Flowers for Mamma." Some very fine bow work is provided throughout by fiddler Deanie Richardson. Ernie Sykes is a Grammy winning bass player who has worked with Bill Monroe, Osborne Brothers, Rhonda Vincent, Reno Brothers and many others. Randy Kohrs is a superlative resophonic guitarist, and Ronnie McCoury adds some exceptional mandolin and mandola licks.
           "Oh Heart" is a dazzling display of fine and lustrous bluegrass. This album glows with radiant bluegrass executed with great skill, charisma and intrigue. Mitch's personal magnetism draws us right in from the first note to the last. Simply, that is the charm of this generous 51-minute album. (Joe Ross)



 
JOHN PRINE -
Fair & Square
OhBoy Records OBR-034
INFO: Josh Swann, Oh Boy Records, 33 Music Sq. W., Nashville, TN 37203 josh@ohboy.com
Playing Time - 62:09
           I was wondering what John Prine had been up to when this project arrived in my mailbox for review. I knew that the well-known singer/songwriter took up guitar at age 14, spent some childhood years in Kentucky (where his grandparents came from), delivered mail, did a stint in the service, sang in Chicago and New York, and was promoted in the 1970s by Kris Kristofferson. Since the 70s, his many albums have exhibited Dylanesque, rock, folk, country and even rockabilly flavors. I hadn't heard much of Prine since his Grammy-nominated "Lost Dogs & Mixed Blessings" album was released about a decade ago.
           "Fair & Square" was well worth the wait. All of the songs on it were written or co-written by Prine with the exception of Clay Pigeons (by Blaze Foley) and Bear Creek Blues (by A.P. Carter). Prine's new spellbinding songs are now ready to "go out to meet the world." Prine's gutsy vocals are accompanied by such instruments as accordion, guitar, mandolin, organ, pedal steel, drums, harmonica and Weissenborn guitar.
           "Glory of True Love" celebrates the happiness and splendor achieved when one finds their soul mate. "Crazy as a Loon" is a ballad that takes us to the crazy towns of Hollywood, Nashville, and New York. Seems that his message is to simplify your life to escape from life's zaniness. Mindy Smith does some nice harmonizing on "Long Monday." Prine's clever, perceptive wit shines through on "Some Humans Ain't Human" as he sings about certain people who are "frozen pizzas, ice cubes with hair, a broken popsicle, a pigeon that'll shit on your hood, or some cowboy from Texas [who] starts his own war in Iraq." Alison Krauss, Dan Tyminski, Jerry Douglas, and Shawn Camp make appearances in "My Darlin' Hometown." One of the most raucous and rollicking offerings is the A.P. Carter cover, "Bear Creek Blues." Prine introduces "Other Side of Town" as "a song about a man who's developed a special ability over a number of years who's able to travel in his mind, especially when his wife goes on a little too long." The one song that comes off like it's not quite done is the closer, "Safety Joe."
           May/June/July, 2005 will find John Prine performing in San Diego, Los Angeles, San Francisco, Reno, Portland (5/20), Seattle (5/21), Ann Arbor, Chicago, Manchester, TN, New York, Philadelphia, Washington, and Albuquerque. Prine is a genuine craftsman whose lyrical poetry interprets events, describes human character and emotion, and provides sage advice. Prine's keen eye sees meaning in even the most ordinary of life's events, observances or happenstances. A recent "Literary Evening with John Prine and Ted Kooser" at the Library of Congress discussed how and why lyrics in popular songs often mirror people's emotions and ideas of the world better than some contemporary poetry. Perhaps the answer partially lies in songsmith Prine's creativeness, innovation, imagination, nonconformity, piquancy, and innate ability to captivate audiences. Look no further than his new album, "Fair & Square" for examples of all these elements. (Joe Ross)



 
RIFT -
Push On Thru
Mandolin Central Publishing MCP0044
PO BOX 728, Siler City, NC 27344
TEL. (919)663-3551 EMAIL mandocen@centernet.net
Distributed by Redeye, 449-A Trollingwood Rd., Haw River, NC 27258
www.mandolincentral.com OR www.redeyeusa.com
Playing Time - 51:56
           Songs - 1. Ript, 2. Push on Through, 3. Movin' On, 4. River of Sorrow, 5. As I Have to Be, 6. Shangrula, 7. Time, 8. Travelin', 9. Atrophy, 10. Blasphemy, 11. Change, 12. Proclivity
           Rift is a new acoustic quartet that is built around the hot licks of Tony Williamson's mandolin and backup vocals, his son Hardy Williamson's guitar and lead vocals, Don Wright's banjo and guitar, and Robbie Link's bass. Their original material has strong blues, jazz and folk influences, but some of the songs could have been given more distinctive bluegrass treatment if the band had perhaps incorporated fiddle, resophonic guitar, additional banjo, and more vocal harmony.
           Based on the cover photo of some seedlings emerging from the ground, I concluded that Rift takes their name from their desire to break through or split open the music scene with their approach to acoustic music. In the title cut, Hardy Williamson asks "Am I the sacrifice or will I push on thru?" as he sings of self-doubt, changing feelings, and slipping out of touch with reality. A listener has to ask if this singer/songwriter fare is inspirational or insipid? Do the songs tell you something that hasn't been heard before? Unfortunately, some of the messages just aren't that memorable.
           The instrumental "Shangrula" is a high point of the project with some technically impressive mandolin picking from the elder Williamson who has considerable experience in many different musical genres and bands including the Bluegrass Gentlemen, Bluegrass Alliance, Duke University Symphony Orchestra, Champagne Charlie, and ASH&W. As a studio musician, he's appeared on many noteworthy releases. In 1990, Tony founded Mandolin Central, an international resource of mandolin lore, vintage instruments and accessories. Tony has a large collection of vintage and rare mandolin family instruments, and he performs an entertaining one-man show (called "The Sound of the American Mandolin") which is also available on video.
           I appreciate Rift's adventurous tastes, but this debut project is missing some additional stimulus and provocation to pull us in and hold our attention for nearly an hour. (Joe Ross)



 
THE STANLEY BROTHERS:
Earliest Recordings: The Complete Rich-R-Tone 78s (1947-1952)
Rounder 11661-1110-2
INFO: lcalista@rounder.com OR dgodowsky@rounder.com
Playing Time - 35:02
           SONGS - 1. Little Maggie, 2. The Jealous Lover, 3. The Little Glass of Wine, 4. Our Darling's Gone, 5. Molly and Tenbrook, 6. The Little Girl and the Dreadful Snake, 7. Are You Waiting Just for Me?, 8. Death Is Only a Dream, 9. Little Birdie, 10. I Can Tell You the Time, 11. The Little Glass of Wine (alternate version), 12. Mother No Longer Awaits Me at Home, 13. The Rambler's Blues, 14. The Girl Behind the Bar
           The Stanley Brothers started recording just after going to Bristol, Va. in early 1947. Hobart [Jim] Stanton had a company in Johnson City, Tn., had heard them on the radio and contacted them about recording. Initially, the Stanleys recorded at WOPI radio station in Bristol, Va. The first session was Pee Wee Lambert (mandolin), Leslie Keith (fiddle), Carter (guitar) and Ralph (banjo). "Mother No Longer Awaits Me at Home," "The Girl Behind the Bar," "Death is Only a Dream," and "I Can Tell You the Time" were cut. Ray Lambert added bass vocal on the latter two songs. No bass players recorded with the band at the Rich-R-Tone sessions.
           And the band wasn't even paid … only promised royalties. The band was happy just to get records out. An early 1948 session with the same personnel captured Little Maggie, The Jealous Lover, The Little Glass of Wine, and Our Darling's Gone. "Little Glass of Wine" quickly became their most popular song and sold 100,000 copies. Around this time, the band was sponsored by a store in Honaker, Va. called Honaker Harness and Saddlery.
           A mid-1948 session saw Art Wooten on fiddle instead of Leslie Keith, and the band recorded The Rambler's Blues and Molly and Tenbrook. The band moved to the Columbia label for a few years but returned to Rich-R-Tone for a mid-1952 session recorded at WLSI at Pikeville, KY. Besides Carter and Ralph, this session included Jim Williams (mandolin) and Art Stamper (fiddle). Leslie Keith had left to form his own band, The Lonesome Valley Boys. The Little Girl and the Dreadful Snake, Little Glass of Wine, Are You Waiting Just For Me, and Little Birdie were the four songs cut.
           Considered among their most scarce and exciting songs, this CD was made from the old 78s. Many old photos and extensive liner notes written by Gary Reid are well-researched and much appreciated. It's fun to hear some spontaneous hoots and hollers and pounding beats on songs like "Molly and Tenbrook" and "Little Birdie." Obviously, the Stanley Brothers weren't trying to produce the gentle, smooth sound more typical of brother duets from that period. The Stanleys' "old-time mountain music" is traced more to the influence of groups like Mainer's Mountaineers. While certainly not up to the standards of today's recording quality, these songs have significant historic value. These aren't just for collectors or musicologists. Rather, this CD captures an era in the seminal development of bluegrass music before it was even widely known as bluegrass. The Rich-R-Tone sessions allow us to experience this band's early enthusiasm and to delight in the success of their developing sound. (Joe Ross)



 
LOU WAMP -
Resolution
Triple L Music 0104
Lou Wamp, P.O. Box 339, Hixson, TN 37343-0339
TEL. (423)842-0025
www.louwamp.com/
EMAIL lwampx2@bellsouth.net
Playing Time - 42:26
           SONGS - Spooky Pass, FireWoman Blues, Oldsmobile Brokedown, Panhandle Rag, Hymnal, ResOlution, Luigi's Revenge, Audrey's Last Dive, Wizard of Wicked, It's Not Too Late, While My Guitar Gently Weeps
           Lou Wamp's slide rules! Wamp is an exceptional resonator guitarist with his own unique new acoustic flair. Wamp's album starts with the sound of birds, an owl and Tom Roady's light percussion on an original "Spooky Pass" that allows all of his Nashville sidemen to shine (Byron House on bass, Butch Baldassari on mandolin, and Jim Hurst on guitar). Some of the other eight originals include Andy Leftwich (fiddle), Justin Moses (banjo, bass, guitar, fiddle), Jessica Lovell (violin), Lynn Wamp (arco bass), or Mark Howard (percussion). Talented multi-instrumentalist Moses played with Wamp in the band, Blue Moon Rising.
           In addition to the originals are two covers - Leon McAuliffe's "Pandhandle Rag" and George Harrison's "While My Guitar Gently Weeps." The comfortable familiarity of these two pieces are relaxing and refreshing in the overall set of largely original music. Readily admitting that his music is not all traditional bluegrass, Wamp prefers to call it "artgrass," a moniker originated by Byron House to describe their jazzy, new acoustic, bluesy sound. The best example of their firework fingers is on "Oldsmobile Brokedown," a technically impressive piece written as a tribute to the late Gene Wooten. Featured on Volume 74 of "Prime Cuts of Bluegrass," this composition is getting good airplay, even as far from Nashville as The Netherlands.
           Wamp has over 20 years in the music business, but he's also an architect, painter, archaeologist, and father to six kids. Besides being a sought after slideman sideman, he certainly has the skill to be a solo artist in his own right. Born in Ft. Benning, Ga. in 1956, Lou had plenty of music (from Elvis to Travis, Bach to the Beatles) around home while growing up. After piano lessons and playing guitar in his high school jazz band, a broken wrist encouraged him to take up resonator guitar. Gene Wooten became a close friend and mentor. Lou played on "Sidemen" nights at the Station Inn and was in a band called Hiwassee Ridge that performed at the 1982 World's Fair in Knoxville. Other bands he's worked with include James Monroe and the Midnight Ramblers, The Dismembered Tennesseans, Cowjazz, In Cahoots, The Cumberland Trio, Blue Moon Rising, and others.
           With the release of ResOlution, Wamp's artistic and expressive playing and outstanding songwriting will take center stage and earn him even greater fame.
           Wamp dobro playing showcases his expert mastery of hand positions, pull-offs, hammer-ons, picking patterns, bar slants, rolls, and picking sequences. Produced by Butch Baldassari, "ResOlution" is an album that slides in an engaging musical groove. (Joe Ross)



 
PATRICIA VONNE -
Guitars & Castanets
CoraZong USA CUSA-2000
www.corazong.com OR www.patriciavonne.com
info@corazongusa.com OR kissyblack@lotosnile.com
Playing Time - 40:58
           Songs - Joe's Gone Ridin', Texas Burning, La Gitana de Triana, Rebel Bride, Lonesome Rider, Guitarras & Castanuetas, Long Season, Fiesta Sangria, Blood On The Tracks, Sax Maniac, Bonus tracks -- CoraZong Edition / La Cigarra / Traeme Paz (video) / Sax Maniac live at Antones (video)
           Guitars & Castanets is Austin-based Patricia Vonne's second album. With contemporary Mexican and traditional rock influences, Vonne's music has been called "Texas border rock." A pounding beat and tastefully rendered electric guitar impart rhythmic force to Vonne's original music which always keeps her engaging voice front and center whether singing in English or Spanish. Following the ten tracks is a bonus video "Traeme Paz" from the motion picture "Once Upon a Time in Mexico," directed by her older brother Robert Rodriguez. Her songs are inspired by Joe Ely, Johnny Reno, homesickness for Texas, passion for flamenco, a motorcycle club, relationships, friendship, and survival. The title cut (co-written with her brother) is dedicated to Alejandro Escovedo, another hero of hers, with whom she occasionally joined on stage for Al's song "Castanets."
           Produced by Carl Thiel, the album features some exceptional accompaniment from Joe Reyes (electric guitar), Scott Garber (bass), Rafael Gayol (drums), Vonne's husband Robert LaRoche (guitars, backing vocals), and others. Additional noteworthy Austin musicians include Charlie Sexton, Jon Dee Graham, Rick Del Castillo, Michael Ramos, Mark Andes, and Johnny Reno.
           The two cuts featuring Vonne's castanets are those with a more acoustic feel ("La Gitana de Triana" and "Guitarras y Castanuelas"). With contemporary and commercial flavorings, this album displays impressive musicianship and emotionally-charged vocalizing. The result is a stirring journey that yields bountiful rewards with numbers like "Rebel Bride," which she calls a "sexy, rockin' wedding song."
           Growing up in San Antonio family with ten kids, Patricia's mother would sing to them in Spanish and the children would harmonize. Her dad had been a drummer, and they often had mariachis visit their house. Now, her music has taken her on world tours numerous times, and she'd like to see more of her songs used in movies and on television. With Guitars & Castanets, Vonne's defining voice and music are exhilarating. (Joe Ross)



 
GEORGE CLARK & DIXIE FLYER -
Back Home
CGS Records 0001
PO Box 882, Portland, TN. 37148
Tel. (615)337-8166
Clark1@bellsouth.net
www.georgeclarkband.com
Playing Time - 40:58
           George Clark wrote or co-wrote five of the songs on "Back Home," the first release on the newly formed CGS Records label in Portland, Tn. "Going Home" tells a lively story of a prisoner being released and looking forward to his trip back to Virginia. "Going Home" is being aired as a featured track on Volume 74 of "Prime Cuts of Bluegrass." The original songs "All That She Said" and "Burnin'" are both well-written additions to the bluegrass canon that have traditional-sounding cornerstones. "Bacon Holler Breakdown" is a snappy instrumental dedicated to George's family, the Shiffletts. Clark also covers some traditional gospel, as well as songs previously recorded by Larry Sparks, The Louvin Brothers, Vern Gosdin and Jimmy Martin. Clark's vocals resonate with conviction, and he has assembled a host of first class musicians.
           In 2001, George and his family moved to Nashville, Tn. to pursue his singing and songwriting career. According to Clark's website, Dixie Flyer's current members include Ferrell Stowe (dobro), Mitchell Drew (mandolin), Rick Otts (banjo), Alan Sparkman (bass), and Charles Duffey (fiddle, mandolin). Dobro-player Stowe appears on all tracks on "Back Home," and he is no newcomer to the bluegrass scene with over 30 years of experience. I particularly like the sound of dobro in the bluegrass context and wish that more releases incorporated that instrument as tastefully played as Stowe does. Drew appears as a vocalist on "A Face in the Crowd" and "Are You Washed in the Blood," and Otts only appears as a vocalist on the opening song, "A Face in the Crowd." Sparkman and Duffey don't appear. Rather, the CD includes Stephen Mougin (mandolin), Shadd Cobb (fiddle), Beth Lawrence (bass), Patton Wages (banjo), Jesse Cobb (mandolin), and Carl Franklin (fiddle). So it's a little confusing as to who exactly Clark's band "Dixie Flyer" currently consists of, or whether this album was primarily meant as a solo project to showcase Clark's singing and songwriting. In the former category, it's quite impressive that many of the vocal harmonies are ably handled by Clark.
           George Clark has a very engaging voice that is well suited to bluegrass music. It's immediately appealing, and his songs are arranged in satisfying form. I expect to be hearing much more from George Clark and Dixie Flyer as they get more established and get their name out there. This successful project should land them a number of festival and club gigs. (Joe Ross)



 
SPECIAL CONSENSUS -
Everything's Alright
Pinecastle Records PRC-1142
PO Box 456, Orlando, FL. 32802
Info@pinecastle.com
www.pinecastle.com
Playing Time - 37:02
           Songs - 1 What Will Become Of Me 2 Can't Go Back 3 How Many Times 4 Two Minus One 5 The Lights Are On 6 Beginners Luck 7 Lord Show Me The Righteous Pathway 8 Everythings Alright 9 She's Walking Through My Memory 10 Old Town Ceili 11 Carolina Smokey Mountain Home 12 Today Has Been A Lonesome Day
           Chicago-based Special Consensus' fifth album on the Pinecastle label has all of the ingredients for a "best of 2005" nomination. Many bands nowadays have masterful musicianship and emotionally-charged vocalizing, but few can steal the show the way that Special Consensus does with its engaging arrangements of superior originals that capture classic bluegrass ideas and themes in new material.
           After opening with Johnny Williams' "What Will Become of Me," the set progresses through four of mandolinist Ron Spears' songs, three of guitarist Justin Carbone's, and one of banjoplayer Greg Cahill's. Also included are a traditional offering (Today Has Been A Lonesome Day), a Pete Goble/Leroy Drumm piece (She's Walking Through My Memory), and a Carl Jackson/Alan Jackson song (Two Minus One). The latter has a particularly nice hook. The band is rounded out by bassist Tres Nugent, and special guests Randy Kohrs (dobro), Andy Leftwich (fiddles), Josh Williams (mandolin one cut), Tim Dishman (bass one cut).
           The ever resourceful band takes its name from the writings of Carlos Casteneda, an anthropologist who wrote about the mystical and spiritual beliefs of a Mexican Indian tribe. "Special consensus" was a Yaqui Indian state of mind where "all the good things in life connect with the good things of the spirit." The band was formed in 1975 by Greg Cahill whose early influences ranged from accordion-driven polka music to Flatt and Scruggs. And having a master's degree in social work no doubt helps one become a bluegrass star too. The band's versatility comes through strongly in the material chosen, mostly with a crisp banjo-centric traditional sound but also well-rounded with some country, Celtic and western swing treats. Ron does most of the lead singing, but Justin sings lead on two of his three self-penned cuts. His third, an instrumental "Beginner's Luck," is a 3-minute pyrotechnical guitar, banjo and mandolin romp. Had it been included, Leftwich's fiddle would've really enhanced that piece like it does with Cahill's dynamic instrumental reel, "Old Town Ceili." Special Consensus' vocal quartet is in the spotlight on Spears' "Lord Show Me the Righteous Pathway," nicely arranged with just guitar and mandolin accompaniment.
           Discriminating bluegrass lovers will find plenty to enjoy on "Everything's Alright." This is one artistic and mellifluous album from a very seasoned band with abundant experience, exuberance, energy, and integrity. (Joe Ross)



 
CORN ISLAND BAND -
First Crop
Corn-8020
c/o Peyton Ray, 3308 Breaux Dr. , Louisville, KY 40220
Peyton Ray 502-451-6799, 502-451-6456 OR John Laswell 502-493-7285
EMAIL cornislandband@yahoo.com
http://www.geocities.com/cornislandband/
Playing Time - 45:19
           "First Crop" came to me with a note saying "we're all local business men who love bluegrass. " Based in Louisville, Kentucky, the Corn Island Band's music exudes an honest sound that reveals a natural inclination for varied material that they and audiences can enjoy and have fun with. Their repertoire ranges from Bill Monroe (On My Way Back to the Old Home), Jimmie Rodgers (He's in the Jailhouse Now), and an old-time fiddle tune (Soldier's Joy), to Jerry Jeff Walker's "Mr. Bojangles" and Charles Johnston's "Listen to the Music." Even a couple originals are included with Dan Scullin's "Cherokee After Dark," and John Laswell's "Pain and Misery."
           Formed in 1999, the band's name is based on the original settlement at the Ohio River falls established by General George Rogers Clark during the Revolutionary War. Collectively, the members have over 2