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ROCKABILLY HALL OF FAME® MERCHANDISE & SERVICES
More Joe Ross Reviews
More Joe Ross Reviews
More Joe Ross Reviews
More Joe Ross Reviews
Earliest Joe Ross Reviews
Upated: November 21, 2005
CD REVIEWS
3 FOX DRIVE - Listen to the Music
JAY ARMSWORTHY & EASTERN TRADITION - Making Memories
MAGGIE AUSTIN - Time & Again
BALL SISTERS BAND - Christmas with the Ball Sisters Band
BANSHEE IN THE KITCHEN Even Hotter Water
DANNY BARNES - Get Myself Together
BELL WITCH: THE MOVIE (Soundtrack from the motion picture)
HEATHER BERRY - He Walks Beside Me
BIG HILLBILLY BLUEGRASS
BLUE MOON RISING - On the Rise
Best of Bluegrass Gospel (3 CDs)
Bluegrass Revival (3 CDs)
THE BOLT BROTHERS BAND - Blue Night
THE BOOHERS - Grandma's Songs
RONNIE BOWMAN - It's Getting' Better All the Time
BRAVE COMBO - Holidays!
JUNE CARTER CASH - Keep On The Sunny Side: Her Life In Music
CHARIVARI - A Trip to the Holiday Lounge
CHERISH THE LADIES - Woman of the House
CHERRYHOLMES - Self-titled
CASEY & CHRIS and the TWO-STRINGERS - Bluegrass Up Ahead!
BRUCE COCKBURN - Speechless
RODNEY CROWELL - The Outsider
JOE DEAN The Thrill of a New Game
JERRY DOUGLAS - The Best Kept Secret
THE DUHKS - Self-Titled
DREW EMMITT Across the Bridge
FLATT & SCRUGGS Foggy Mountain Gospel
LESTER FLATT & EARL SCRUGGS Foggy Mountain Jamboree
KEVIN GORDON - O Come Look at the Burning
GREAT BIG SEA - The Hard and the Easy
HEAD FOR THE HILLS BLUEGRASS BAND - Self-Titled
RAY HESSON - Sunrise
HIT & RUN BLUEGRASS Without Maps or Charts
HOT STRINGS - Uncharted
JAPANESE BLUEGRASS BAND - Blue Moon
CLAY JONES - Mountain Tradition
THE JORDANAIRES - Believe: A Collection of Bluegrass Hymns (2-CDs and 1 DVD)
TIM LAKE - We All Need Heroes
MIRANDA LAMBERT Kerosene
PATTY LOVELESS - Dreamin' my Dreams
DAVID MAYFIELD
DEL McCOURY BAND - The Company We Keep
JIM MILLS - Hide Head Blues
BOB MITCHELL Some Days This Place is a Zoo
MONROE CROSSING Somebody Like You
WILLIE NELSON - Countryman
NIGHT TRAIN TO NASHVILLE: Music City Rhythm & Blues 1945-1970 Volume 2
MICHELLE NIXON - What More Should I Say?
NORTHERN LIGHTS New Moon
TIM O'BRIEN Cornbread Nation
TIM O'BRIEN Fiddler's Green
MARK O'CONNOR and NADJA SALERNO-SONNENBERG - Double Violin Concerto
CALEB OLIN - Tangled Roots
BENJAMIN OLSON - White Window
OPEN ROAD - Lucky Drive
DAVID PARMLEY & CONTINENTAL DIVIDE Long Time Coming
PEASALL SISTERS Home To You
POCO - Bareback at Big Sky
JON RANDALL - Walking Among the Living
LEON REDBONE - LIVE
LOU REID & CAROLINA Time
JOHN REISCHMAN - North of the Border
JOHN REISCHMAN and JOHN MILLER - The Bumpy Road
LARRY RICE - Clouds Over Carolina
STEVE RILEY and the MAMOU PLAYBOYS - Dominos
TOM RUSSELL BAND - Raw Vision 1984-1994
JAKE SCHEPPS Expedition
MIKE SCOTT & OTHERS - Blue Moon of Kentucky: A Tribute to Bill Monroe
WAYNE SCOTT - This Weary Way
EARL SCRUGGS (w/ special guest stars) I Saw The Light With Some Help From My Friends
CURLY SECKLER - That Old Book of Mine
SHADY CREEK OUTLAWS WAYLON GRASS: A Bluegrass Tribute to Waylon Jennings
SKAGGS FAMILY - A Skaggs Family Christmas Volume One
KENNY & AMANDA SMITH BAND - Always Never Enough
VALERIE SMITH & LIBERTY PIKE - That's What Love Can Do
SONS AND BROTHERS WestGrass
JEANIE STANLEY Baby Girl
STEEL STRING THEORY - Curve in the Road
STEEP CANYON RANGERS One Dime at a Time
JIMMY STURR and his ORCHESTRA - Shake, Rattle and Polka
TANGLEWEED
TODD TAYLOR - Taylor Made
JORDAN TICE - No Better Place
GORDON TITCOMB The Last Train
UNCLE EARL - She Waits for Night
UNION KUN-TREE Are You Ready
VARIOUS ARTISTS - 20 Best of Bluegrass Gospel
VARIOUS ARTISTS - Bluegrass Hits: Twenty Timeless Favorites from Yesterday and Today
VARIOUS ARTISTS - HAPPY LAND: Musical Tributes to Laura Ingalls Wilder
VARIOUS ARTISTS - Stelling Banjo Anthology
VARIOUS ARTISTS Tone Poets (2 CDs)
VARIOUS ARTISTS Ultimate Pickin' The Best of Instrumental Bluegrass
VIRGINIA RUN - "Blueridge"
WILDFIRE - Rattle of the Chains
JOHNNY WILLIAMS 1-800-LONESOME
PAUL WILLIAMS & The Victory Trio - When the Morning Comes
THE WOODYS - Telluride to Tennessee
GREAT BIG SEA -
The Hard and the Easy
Zoe 01143-1080-2
One Camp Street, Cambridge, Ma. 02140
www.rounder.com OR greatbigsea.com
info@rounder.com OR OR lcalista@rounder.com
Playing Time - 41:16
SONGS - 1. Come and I Will Sing You (The Twelve Apostles), 2. Old Polina, 3. The River Driver, 4. The Mermaid, 5. Captain Kidd, 6. Graceful & Charming (Sweet Forget-Me-Not), 7. Concerning Charlie Horse, 8. Harbour LeCou, 9. Tishialuk Girls Set, 10. French Shore, 11. Cod Liver Oil, 12. Tickle Cove Pond
It was about twenty years ago that some students studying English and folklore met at Memorial University in St. John's, Newfoundland. Their bands like Newfoundland Republican Army and Rankin Street eventually evolved in 1993 into Great Big Sea with multi-instrumentalists Alan Doyle, Séan McCann, Bob Hallett and Darrell Power. Darrell has since left the group, replaced by Toronto-area native Murray Foster. From Pictou County, Kris MacFarlane is the fifth member of Great Big Sea and plays drums and percussion. During the band's 15 years, they've produced nine albums that blend traditional and contemporary approaches to folk music, always with copious amount of imagery and emotional sentiment. This release, however, takes the new approach of being all-acoustic.
With a seafaring theme, many of their songs on "The Hard and the Easy" immediately draw you in for interaction with humorous lyrics and catchy melodies. Arrangements are given rousing pub-song presentation, and listeners who like songs about the flowing bowl in a more relaxed style might actually prefer to explore the material of a duo like William Pint and Felicia Dale. "Harbour Lecou" and "Cod Liver Oil" are the types of stories that they can so evocatively tell. Great Big Sea's lineup includes six guests on 5-string banjo, harmonica, and vocals. It would be hard to not sing along on "Captain Kidd," which features Fergus O'Byrne's banjo. It might've been rather interesting to invite a guest to play some hurdy gurdy on a bounding tune like this. The down-home, earthy side of the band, along with a bit of bawdiness, is best captured in "The Mermaid," a song I've heard entertainers like Alex Beaton cover.
Frank Maher's harmonica provides expressive fill for the sentimental ballad, "Graceful & Charming (Sweet Forget-Me-Not)." It's a bit of an extreme segue to the next cut, "Concerning Charlie Horse," which is back into a pub-song mode. The liner notes don't identify exactly who is singing on which cuts. Great Big Sea's instrumental prowess is best captured in "Tishialuk Girls Set" that begins with low whistle before making a genesis into an accordion and fiddle-driven dance music and song. If one is more interested in their original material, look for their 2004 album, "Something Beautiful." Somewhat of a concept album. "The Hard and the Easy" captures the joy and delight of their region's unique musical canon.
Besides having obvious personal affection for these songs, the band members also know that the playful tunes are solid crowd pleasers. There are plenty of references to history, life, labor and love. One would be hard-pressed to not be pleased with renditions of the tongue-twisting "Come and I Will Sing You," the somber "River Driver," or the poignant "Tickle Cove Pond." The album's title comes from words mentioned in the latter, part ballad and part chantey that tells the story of falling through ice and losing a trusted horse. "The hard and the easy, we take as they come …" epitomizes the band's undaunted attitude about success and perseverance. In addition, a DVD that comes with the album shows Alan, Bob and Sean talking about their songs, reflecting on their region's musical traditions, and singing the songs in relaxed, informal fashion. (Joe Ross)
CHARIVARI -
A Trip to the Holiday Lounge
Rounder 11661-6112-2
One Camp Street, Cambridge, Mass. 02140
TEL. 617-218-4495 www.rounder.com OR www.charivaricajunband.com
Info@rounder.com OR lcalista@rounder.com OR frisson@bellsouth.net
Playing Time - 58:44
SONGS - 1 Carollee 2 It's All My Fault 3 Reel de Barzas/Wayne Perry's Reel 4 Sur le Courtableau 5 Courville's Favorite 6 Dreamer's Waltz 7 Persian/Zydeco Gris Gris 8 Le Holiday 9 Cajun Klezmer Breakdown 10 Knife Fight 11 It's Lonesome in Prison 12 Quelle Etoile/One-step de McGee/Reel des Deshotels 14 Neitzsche's Waltz 14 Nonc Charlot 15 Two-step à Will 16 Valse à Jean Billeaudeau
Charivari is a variant of the word "chivaree," the noisy serenading and partying that friends and family deliver to newlyweds on their wedding night. Thus, the festive, fun-filled and frolicking nature of Charivari's music is appropriate for a night of revel. They have all the necessary ingredients for rousing Cajun music - lonesome mournful vocals, wailing fiddle, breezy button accordion, and the metronomic beat of the bass and drums. The band demonstrates considerable versatility with a repertoire that doesn't stray too far from traditional roots while also mixing in a few originals. They embrace an old sound while still making it fresh and contemporary. A number of their Cajun and Zydeco tunes are attributed to Dennis McGee, Nathan Abshire and Michael Doucet. Ebullient performers, Charivari also draws some influence and inspiration from Celtic, Klezmer and Middle Eastern music. In true raucous party form, you don't even seem to experience much tedium when the two tracks spanning more than 6 minutes cue up. The messages in their songs cover common Louisiana ground about Cajun and Creole people and their lives. Their "Persian/Zydeco Gris Gris" mentions the bayou, oak trees, moss, alligators, swamp gas, werewolves, and Mulattos. In few words, the song paints quite a picture of partying in the swamp. The CD jacket includes the French lyrics and English translations of them.
The band's signature sound balances vibrant vocals and assertive instrumental work. Guitarist J. Randy Vidrine handles most of the singing, with fiddler/accordionist Jonno Frishberg vocalizing on a couple. Mitchell Reed does some impressive bowing of the fiddle. Their rhythm section are two Cajuns who hail from New Orleans -- Alfred "Bo" Ledet (bass) and Matt Swiler (drums). Ledet also plays fiddle on one cut.
About 15 years ago, Mitchell and Randy met at a jam session, and the band was started. As the Mamou Prairie Band. three albums were released on Swallow Records between 1993 and 1998. Their debut on the reputable Rounder label (Rounder-069) occurred with the album, "I Want to Dance with You." These musicians have had much experience performing, touring, recording, and teaching. Their innovation and versatility have been keys to their success. However, one thread holds their music all together. That is their respect for the Cajun culture, the foundations of the music they play, and their desire to see it thrive today. Some favorite cuts include Carollee, It's My Fault, Knife Fight Reel, and Le Holiday. Charivari's "gris-gris" and musical ritual are sure to please all who appreciate danceable music with strong traditional roots. (Joe Ross)
VARIOUS ARTISTS -
Bluegrass Hits: Twenty Timeless Favorites from Yesterday and Today
Rounder 11661-0569-2
One Camp Street, Cambridge, Mass. 02140
TEL. 617-218-4495 www.rounder.com OR www.charivaricajunband.com
Info@rounder.com OR lcalista@rounder.com
Playing Time - 65:57
At one time, the words "bluegrass" and "hit" would be contradictory. However, in more recent times with the great success and growth of the genre, bluegrass music can claim to have many top songs that are garnering significant radio airplay. Every song on this Rounder Records compilation placed in the Top Ten of Bluegrass Unlimited magazine's National Bluegrass Survey. So this sampler gives us a generous 66 minutes of tried, true and tested bluegrass. The chart is based on feedback from radio DJs and programmers so people that know the music have weighed in to name these songs as among the best of the best contemporary bluegrass dating from 1985-2005. Cuts come from a number of stalwarts such as Doyle Lawson, The Cox Family, Alison Krauss and Union Station, Tony Rice, Rhonda Vincent, Ricky Skaggs, J.D. Crowe, and Claire Lynch. Other emerging acts like Blue Highway, Longview, Alecia Nugent, Open Road and The Grascals are more recently on the scene, but no less impressive with their hits. It's impressive to see women playing such a prominent role among these hits. Hits are also drawn from highly-acclaimed solo releases Rob Ickes, Dan Tyminski, and Stuart Duncan. Unfortunately, a few of these groups who had hits (Johnson Mountain Boys, Weary Heart, Rambler's Choice) are no longer together. The 20-page CD booklet offers musician credits, a short summary about each group, and Rounder discography for further exploration.
"Bluegrass Hits" is a wonderful set from a leading label in the genre. It also makes a strong statement about where bluegrass music is headed. Listen to this album in context of what has gone before. I was surprised to hear the banjo and fiddle relegated to minor roles in some of the arrangements. In "Me and John and Paul," (IBMA's 2005 Song of the Year) there are percussion and pedal steel in the mix. Compared to the seminal works of bluegrass' founders, we hear songs with slower tempos and smooth, polished Nashville-style vocals. The resonator guitar also appears to be playing a more and more prominent role in the genre's current sound. "Bluegrass Hits" closes with the earliest track recorded, a 1988 version of the traditional "Dream of a Miner's Child" from the Johnson Mountain Boys. It's an interesting way to close this album - on a note that recognizes the spirit and significance of classic bluegrass from a band, now defunct, that never compromised their traditional sound. (Joe Ross)
PAUL WILLIAMS & The Victory Trio -
When the Morning Comes
Rebel CD-1814
PO Box 7405
Charlottesville, VA 22906
www.rebelrecords.com
email: tgarber@rebelrecords.com
Playing Time - 43:53
SONGS - 1. I'm A Little Closer To My Lord 2. I Know, I Know 3. I Call It Home 4. I Could Sing About Heaven 5. Do Something For Jesus Today 6. He's Answered Each Prayer 7. That Healing Fountain 8. Are You Washed In The Blood 9. As Soon As I Touch Calvary 10. Keep On Believing And Keep On Loving 11. In Heaven She'll Live On And On 12. When The Morning Comes 13. When I Get Home 14. When They Ring Those Golden Bells
Paul Williams and "The Victory Trio" are actually a full 5-piece band that offers solos, duos, trios and quartets inspired by the "Holy Spirit of God." Originally from Virginia but now living in Tennessee, former Lonesome Pine Fiddler (and Sunny Mountain Boy) Paul Williams left bluegrass music in 1963 to pursue a career with the U.S. Postal Service. Now retired, Williams is back performing and recording since his reappearance on the music scene in 1996.
"When the Morning Comes" must be his tenth or eleventh album during the last decade, and this album includes some new personnel in the band. Gone are band associates Jerry Keys, Ned Cutshaw, Jeff Orr, Susie Keys, and Keith Williams. This new and impressive project features Paul's mandolin playing, with all five other bluegrass instruments impressively played by one stellar artist, David Johnson. My hat is off to him. Besides Paul's lead and tenor vocals, three other singers (Billy Proffitt, Mike Grove, Karen Benton) are impressive and nicely blended. Proffitt sings lead on eight songs while Williams sings lead on six.
Dave Freeman and the Rebel label have been very supportive of Paul and his traditional style music that he's known for. He also continues to spread his ministry through music. Paul Williams hopes that this CD will be a blessing to each and every person who hears it. His reputation is one of fine bluegrass gospel that emphasizes a good selection of original and lesser-recorded material. The title cut, as well as four others, come from the traditional canon. He also draws material from Dixie and Tom T. Hall ("Do Something for Jesus Today"), Larry Whitehead ("I Could Sing About Heaven"), Squire Parsons ("I Call it Home"), "Clay Edwards ("I Know, I Know") Bud Harmon ("That Healing Fountain"), and Roscoe Reed ("When I Get Home"). I always enjoy hearing a devout singer of gospel do their own heartfelt original songs, and for that reason the ¾-time "He's Answered Each Prayer" is one of my favorites on this album. (Joe Ross)
VARIOUS ARTISTS -
Stelling Banjo Anthology
Rebel CD-1815
PO Box 7405
Charlottesville, VA 22906
www.rebelrecords.com OR www.stellingbanjo.com
EMAIL stelling@stellingbanjo.com OR tgarber@rebelrecords.com
Playing Time - 61:54
Song List: 1. Emergency Pulloff - Ned Luberecki, 2. Cotton Patch Rag - Alan Munde, 3. Another Time, Another Place - Keith Arneson, 4. Ticket To Alvarado - Bill Emerson, 5. Roadrunner - Alvin Breeden, 6. Shuckin' The Corn - Chris Warner, 7. Nedscape Navigator - Ned Luberecki, 8. Powder Creek - Alan Munde, 9. Little Juniata - Bill Emerson, 10. In Late September - Keith Arneson, 11. Bury Me Beneath The Willow - Murphy and Casey Henry, 12. Boatmans Stomp - Chris Warner, 13. Home Sweet Home - Geoff Stelling, 14. Riding The Stelling - Geoff Stelling, 15. Apple Blossom - Alan Munde, 16. John Hardy - Murphy Henry, 17. Trousdale Ferry Rag - Chris Warner, 18, Red Mary Janes - Casey Henry, 19. Home Of The Red Fox - Bill Emerson, 20. Shenandoah Breakdown - Keith Arneson, 21. Banjo Special - Alvin Breeden
I still remember the first time I heard a Stelling banjo in the mid-1970s, and I recall thinking that the instrument sure projected with both volume and tone. The very first issue of Frets magazine in 1979 featured the Stelling Bellflower. At that time, Stelling Banjo Works was based in Spring Valley, CA. The company now operates out of a former one room schoolhouse on Heards Mountain in Va. Founded in 1974, Stelling Banjo Works has always tried to innovatively improve on banjo construction with such patented creations as the wedge-fitted pot assembly, pivot-pin tailpiece, Stelling maple bridge, and compensated nut.
With over thirty years in the business, Geoff Stelling has become known as one of the best banjo builders today. And that may explain why some of the world's finest banjo players play these instruments. Geoff's impetus for making this album was to present an array of banjos on one recording played by various well-known pickers. Potential Stelling owners can hear how the different banjos sound when played by different people. Geoff also wanted to showcase some of his favorite pickers and friends who play Stellings. He had many musicians in mind but had to narrow the group to who was available and willing to participate under the terms he offered.
This CD's collection of 21 instrumentals played on Stellings by nine well-known banjo players is a celebration of three decades of success. During that period, about 6,000 banjos have been built. Photos in the CD booklet include nice instruments such as # 91 (a 1976 Golden Cross built for Don Reno) and The Scrimshaw (of which only 15 were made). About half of the banjos used on this recording were constructed since 2002, many with Tony Pass rims made of mature timber that has been underwater for over 100 years, recovered and kiln dried.
The tunes, a variety of the common and uncommon, were recorded from February-April, 2005 in various studios, with each banjo-player assembling their own competent back up musicians. The majority of the tunes are the players' own original compositions. However, there are also some Bill Monroe, Don Reno, Earl Scruggs, Gary/Randy Scruggs, Roland/Clarence White, and traditional covers.
The featured artists include Bill Emerson, Alan Munde, Keith Arneson, Casey and Murphy Henry, Alvin Breeden, Ned Luberecki, Chris Warner, and Geoff Stelling. It might've been nice to include a paragraph about each artist and their styles. The leanest arrangement is Luberecki's "Nedscape Navigator" with just banjo and Ron Pennington's mandolin. Keith Arneson played banjo, guitar and bass on his one cover and two original compositions. The other pickers organized full ensembles for their contributions, but I was surprised that not one of the 21 cuts includes any resophonic guitar. According to Geoff, "None of the banjo players apparently felt the need for Dobro given that the CD is supposed to feature the banjo. We had a limited amount of time and no need for an instrument that usually competes with the banjo in a way that is unique to that instrument." All in all, this hour-long set is a great banjo-centric conversation among friends. Assuming the success of this album, Geoff Stelling will do another with other prominent pickers of banjos he's built. (Joe Ross)
BRAVE COMBO -
Holidays!
Rounder 11661-9069-2
One Camp Street, Cambridge, Mass. 02140
TEL. 617-218-4495 www.rounder.com OR www.charivaricajunband.com
Info@rounder.com OR lcalista@rounder.com OR office@brave.com
Playing Time - 53:55
SONGS - 1. Auld Lang Syne, 2. New Year Polka, 3. Groundhog Groundhog, 4. Glitter & Glue, 5. Hail To The Chief / Minstrel Boy, 6. Postcard From New Orleans, 7. A Little Bit Irish, 8. April Fool, 9. I'm A Bunny Rabbit, 10. Cinco De Mayo, 11. Mama Pushed Me Out, 12. Father's Day, 13. Precious Freedom, 14. No Work Polka, 15. The Vampire Twist, 16. Thanksgiving Day, 17. Hey Little Dreidel, 18. Coal And Switches, 19. Mambo In A Brand New Year
When Brave Combo first formed in 1979 in Denton, Texas, they were called a New Wave polka band. However, a quarter century later, they've proven they are much more. Your hear influences of country, jazz, rock ‘n' roll, surf, blues, Celtic, Tex-Mex, Latin, Klezmer, big band, and salsa in their music. And there's a good measure of the novelty element too. So that explains Brave Combo's moniker and cryptic genre, but it's really not that baffling. Behind the scenes, I suspect that the band is very serious about their tunes. It shows in their arrangements and musicianship. For us, music is a rather personal thing, and we usually listen to it for enjoyment and stimulation. "Holidays!" succeeds because there's something for everyone. Brave Combo's prime directive is to "break down people's perceptions about what's cool to like in music…. to shake up people's ideas about what they label hip, or right or wrong." They also say that acceptance of polka and other dance rhythms can help bring about world peace. If people start dancing together, they'll also learn to respect each other's cultures too. So put your inhibitions and restraints aside…Get up and cut a rug.
"Holidays!" gives us a fun, chronological journey through our favorite days of the year. They begin with "Auld Lang Syne" and "New Year's Polka," then take us through 19 cuts to "Mambo in a Brand New Year." But what happened to Martin Luther King Day in January? That's one of my favorite winter days off from work. Hey guys, it's not too late to pen a song called "MLK Porter," a tribute to the homebrewed beer that was started in a friend's garage that day. And where is the tribute to Veteran's Day? How P.C. is it to jump right from Halloween ("Vampire Twist") to "Thanksgiving Day." While definitely eccentric, they have built a legion of fans who like the outlandish with a grooving, danceable beat. Dr. Demento would appreciate them too.
The package includes Larry King's liner notes about making the CD. As producer of the TM Comedy Central Network, he was on the lookout for good original songs that met their criteria for morning radio shows. Brave Combo is Jeffrey Barnes, Alan Emert, Carl Finch, Bubba Hernandez, and Danny O'Brien. Guests on Holidays! include Rob Avsharian, Joe Cripps, Milo Deering, and a whole host of background singers. With over a dozen albums out on the Rounder label, Holidays! is a playful phantasm of foolish and often frenetic festivity. (Joe Ross)
TIM LAKE -
We All Need Heroes
Padraig Records PAD-35445
P. O. Box 22164, Lexington, KY 40522-2164
TEL. 859-268-1718
www.TimLake.com
EMAIL TimLakePAD@aol.com
Playing Time - 68:48
It's been about 20 years since Tim Lake first caught our attention with his "Same Old Roadside Inn" release on the Rounder label. He established his own Padraig record label in 1993. "We All Need Heroes," the latest album from Tim Lake, is the eleventh from the singer and songwriter who is originally from New York City but now living in Lexington, Ky. His musical approach fuses bluegrass, gospel, country, rock, pop, and light jazz behind his singing voice on all-original material. With sultry, bluesy and soulful vocalizing, Lake is also somewhat of a political spokesman with songs like "If Only I was a Praying Man," "Praise the Lord and Shoot to Kill," "Two GIs in a Foreign Prison" and the title cut. He also presents some tender love sentiments, gospel, and other messages that are creative and unique ("Ain't Nobody Normal Anymore"). A typical arrangement has Lake's banjo and vocals layered with piano, pedal steel, percussion and other instruments.
Calling his music "jazz with bluegrass and blues," Lake earned a doctorate in music in 1991 from the University of Kentucky. His dissertation (and one of his albums) is titled "An American Concerto for the 5-string Banjo and Orchestra." That piece was documented from a 1993 performance with the Atlanta-Emory Symphony Orchestra. It also won the Kentucky Al Smith Fellowship for Music Composition in 1995. On "We All Need Heroes," Lake addresses the spiritual issues that we all confront daily during turbulent times. Four of his songs were inspired by the 9/11 tragedy. He also successfully explores the role of the banjo in American popular music, with the 4-string plectrum banjo played in "It's You," while the 5-string is more frequently used. Lake also plays guitar and ukelele, while the rest of his Little Big Band plays woodwinds, sax, percussion, trumpet, keys, tuba, steel guitar, fiddle, mandolin, and guitars. Besides Lake's own background vocals, others are provided by Danielle Thompson and Nathan Wilson.
Some of Lake's 17 originals work better than others, and "They Will Always Love You" is a personal favorite due to its contemporary bluegrass feeling. Some of his other songs grow on you with continued listens. With nearly 70 minutes of music on this album, you're bound to find some melodies and lyrics to personally relate to. His family has also been both supportive and inspirational. "When I Think of You" was written for his wife, Miyuki, on Valentine's Day 1997. "That's Why I'm Smiling" is a jazzy ballad written for his son, Sheehan. Dave Anderson's saxophone and John Heinrich's steel guitar give the song an enchanting atmospheric effect. "Sail for the Lord," with its funky riff, presents optimism for tomorrow if one has faith in the Lord. Lake's music is a type of Americana in that it has attributes that are drawn from all American styles. If his own song, "Outside Looking In," has any autobiographical truth to it, then we are pleased to know that Tim Lake is doing just fine despite detractors, taxes, and others who may not understand his own unique approach to musical expression. (Joe Ross)
WAYNE SCOTT -
This Weary Way
Full Light FLR-0502
PO Box 40100, Nashville, TN. 37204
TEL. 615-385-0001
Condon@comcast.net OR jocelyn@lotosnile.com
www.waynescottmusic.com OR www.darrellscott.com OR www.kingeasyrecords.com
Playing Time - 44:05
SONGS - It's The Whiskey That Eases The Pain, Sunday With My Son, The Writer, Sinner, This Weary Way, I Wouldn't Live In Harlan County, When It's Raining After Midnight, In The Mountains, My Last Bottle Of Wine, Crash On The Highway, Since Jesus Came Into My Heart, What I Really Need Is You, Folsom Prison Blues
Wayne Scott has a great deal of classic country soul. In fact, he seems about 50 or 60 years late in making this album. Born to play and sing, he grew up on a Kentucky tobacco farm in the 30s and 40s, and the old photos in the CD jacket show that he's done his share of country music picking and singing. However, until now, he'd never really performed his own material that was inspired by the songs he covered from Hank Williams, Johnny Cash, Lefty Frizzell and Merle Haggard. He presented some originals once in bar but quickly realized that the people weren't there to hear his songs. Orchestrated by one of his five kids, Darrell, "This Weary Way" recreates a different musical era…one not characterized by all the hype and glitter we typically see in country music today. Thus, armed with all but two originals, Wayne Scott sings life-affirming tales about being born, raised, working, drinking, loving and praying in the mountains. Fortunately, his son saw something special in his father's songs and the feelings they express.
Wayne's country band toured for about 20 years, and Darrell learned to play guitar on stage for five sets a night with the group. Darrell's own songs have been recorded by the likes of Garth Brooks, Dixie Chicks, Travis Tritt, Brad Paisley, Sara Evans and Patty Loveless. The aptitude for good songwriting must be in their genes. Darrell recognized that his father's songs were simple, emotional, direct - all the essential rudiments of old country. Just listen to "What I Really Need is You" with its heartfelt music. Some stellar Nashville session musicians helped out on this project --Guy Clark, Dirk Powell, Tim O'Brien, Dennis Crouch, Dan Dugmore, Casey Driessen, Danny Thompson, and others. These guys know how to tap into the river of tradition, history, values and beliefs that ran through yesteryear's country music. Building on this, Wayne Scott's creates his own distinct image when he sings about family ("Sunday with my Son"), heartbreak ("It's the Whiskey that Eases the Pain"), or salvation ("Sinner"). For a little more variety, I only wish that Wayne would have put a few more faster tempo'ed tunes like "In the Mountains" and "Since Jesus Came Into My Life" on the CD. (Joe Ross)
HOT STRINGS -
Uncharted
No label, No Number
Tel. (970)731-5653
Skigrass@netzero.com
www.pagosahotstrings.com
Playing Time - 53:12
A minute hadn't elapsed in the opening cut of Peter Frampton's "Do You Feel" before I noticed something distinctly missing from Hot Strings' "Uncharted." They've chosen a bluegrass-related new acoustic medium for their expression, but there's no banjo. Despite this obvious shortcoming, these guys really rise to the challenge. A large percentage of their material is original on this project produced by Pat Flynn. The set has energetic tempos, interpretive twists, and well-calibrated vocals. There are high-octane instrumentals ("Ghost of the Leopard" and "Lighter Than Air" and "March of the Ents") and mesmerizing vocals ("I'll Be There" and "Spirit of the Night" and "Times Like These"). In fine new acoustic fashion, arrangements are executed with great skill to showcase all four musicians' talents. What do the members have in common besides the enjoyment of biking, hiking, skiing, fishing, rock climbing, backpacking, and hacky sack? The answer is a simple one -- the Hot Strings are hot pickers!
The Hot Strings hail from Pagosa Springs, Co. where the majority of them attend Fort Lewis College. Their dynamism stems from having strong fluency in the language of their strings, as well as their willingness to walk fences between genres. A song like "We Will March" yields some interesting results and bountiful rewards when reggae rhythms meet bluegrass. Band members Josiah Payne (mandolin), Carson Park (fiddle) and Jared Payne (guitar) have played together for more than a decade. Bassist Lech Usinowicz joined the band in 2004, replacing Carson's father, Dan Park, who contributed to the writing of four songs on this project. Josiah and Jared are brothers; Carson is their cousin. By the time they were 14, 12 and 10, they'd won the 1998 Rockygrass band contest. A year later, they won the Telluride contest. But that's not all. Carson is the 1999 Colorado fiddle champion. Josiah is the 2000 national mandolin champion. Lech was the 2002 recipient of the San Juan Symphony Scholarship.
While they have "Uncharted," the band deserves to chart some of their songs. They sing in the closer, "I'm going to climb higher and higher until I reach my goal." With that good attitude, dedication, perseverance, a little luck (and perhaps a little guest banjo courtesy of Alison Brown, Tony Furtado or Scott Vestal), it won't take them long. The Hot Strings already have the musical talent, aptitude and skill to take them far. (Joe Ross)
LESTER FLATT & EARL SCRUGGS
Foggy Mountain Jamboree
Columbia/Legacy CK-92801
550 Madison Ave., New York, NY 10022
www.legacyrecordings.com
kay@commotionpr.com OR LegacyMediaRelations@sonymusic.com
Before its reissuance on CD, there's a reason that "Foggy Mountain Jamboree" was a heavily sought after Flatt & Scruggs LP. It's classic bluegrass of the finest quality. Recorded in Nashville from 1951-1955, it was produced by Don Law who provided for a high level of quality control. Besides Earl Scruggs and Lester Flatt, the rest of the band included some of the finest bluegrass ever assembled at the time: Curly Seckler or Everett Lilly (mandolin), Benny Martin, Paul Warren or Howdy Forrester (fiddle), and Josh "Buck" Graves (dobro). While every cut has strong emotional and historical value, I especially like the material that featured Lilly's wonderful tenor voice soaring above Flatt's solid and expressive lead vocal.
The bluegrass classics include Flint Hill Special, Some Old Day, Earl's Breakdown, Jimmie Brown the Newsboy, Foggy Mountain Special, It Won't Be Long, Shuckin' The Corn, Blue Ridge Cabin Home, Randy Lynn Rag, Your Love is Like a Flower, and Reunion in Heaven. The CD reissue adds three new bonus tracks (On My Mind, Dear Old Dixie, Pray for the Boys), as well as new liner notes from Bob Cherry. I never tire of hearing Earl twist those Scruggs tuners in the middle of a breakdown. Also, the songs are a testament to the songwriting abilities of their wives who penned four of the songs including the timeless "Blue Ridge Cabin Home."
At the time of its recording, Flatt & Scruggs toured widely throughout the southeast from Lexington to Tampa, Bristol to Roanoke, and Knoxville to Atlanta. Tennessee-based Martha White Mills thought that they'd be a great band to sponsor and feature on their radio broadcasts, and that support brought them steady weekly paychecks without all the heavy road work.
Lester Flatt passed on in 1979, but Earl Scruggs will turn 82 on January 6, 2006. Scruggs recently appeared at Merlefest and Bonnaroo, and he has been the subject of much national media attention. In September, 2005, I caught him leading an enthusiastic rendition of "Foggy Mountain Breakdown" with four other banjo-players on the David Letterman Show. Flatt & Scruggs' impact on bluegrass goes without saying. Their names are synonymous with the classics of bluegrass. My hats off to Columbia/Legacy Records for re-releasing this inspirational and stimulating Flatt and Scruggs material on CD.
FLATT & SCRUGGS
Foggy Mountain Gospel
Columbia/Legacy C2K-92574
550 Madison Ave., New York, NY 10022
www.legacyrecordings.com
kay@commotionpr.com OR LegacyMediaRelations@sonymusic.com
After recording for Mercury, Flatt & Scruggs started recording for Columbia in 1950. Their last Columbia session was 1969. This 2-CD "Foggy Mountain Gospel" set presents material recorded between 1951-1966. Besides a number of songs originally released as singles, this 2-CD set draws material from many classic LPs, most heavily from Songs of Glory (Columbia CL1424) and When the Saints go Marching In (Columbia CS9313).
Scruggs' phenomenal lead guitar work ("I'm Working on a Road") kicks off the project. Then, there is the band's cohesive vocal quartet on songs like "Get in Line Brother" and "I Saw Mother with God Last Night" and "Give Me the Flowers." I like the old hymns they sang such as "Give Mother My Crown" and "Jesus Savior Pilot Me," the former attributed to the songwriting of Walter Bailes. Tom T. Hall, an up-and-coming songwriter at the time, wrote"A Stone The Builders Refused."
As Rich Kienzle points out in the new liner notes, it is Flatt & Scruggs' gospel material that transcends all else and stands as "an impressive facet of their musical legacy" and a "reminder of their peak creative years." Both old favorites and some overlooked jewels comprise the canon. Two selections were previously unreleased ("He Will Set Your Fields on Fire" and "No Mother in the World Today"). Of the many original songs written by their wives, some of my favorites from their pens are "Joy Bells," "No Hiding Place Down Here," and "Get on the Road to Glory."
They also cover songs from The Carter Family ("I'm on my Way to Canaan's Land" and "On the Rock Where Moses Stood"), the latter featuring the autoharp of Mother Maybelle Carter. Other covers come from J.E. Mainer's Mountaineers, Charlie Monroe ("When the Angels Carry Me Home"), and The Bailes Brothers. Band members like Curly Seckler, Everett Lilly, Benny Martin, Paul Warren, Jake Tullock, Howdy Forrester, and Josh "Buck" Graves. On the slight downside, Buddy Harman's drums creep into the mix on seven tracks that are drawn from Flatt & Scruggs' "When the Saints Go Marching In" LP.
Lester Flatt passed on in 1979, but Earl Scruggs will turn 82 on January 6, 2006. Scruggs recently appeared at Merlefest and Bonnaroo, and he has been the subject of much national media attention. In September, 2005, I caught him leading an enthusiastic rendition of "Foggy Mountain Breakdown" with four other banjo-players on the David Letterman Show. Together, Flatt & Scruggs' impact on bluegrass goes without saying. Their names are synonymous with the classics of bluegrass. My hats off to Columbia/Legacy Records for re-releasing this Flatt and Scruggs material on CD.
"Foggy Mountain Gospel" is a compilation of unadulterated and authentic bluegrass gospel music from the 1950s, along with two releases from the 1960s, "Songs Of Glory" and "When The Saints Go Marching In." There are also a number of live recordings. These 52 tracks on two CDs remind us that Flatt & Scruggs' gospel music was certainly as compelling as their secular material. (Joe Ross, staff writer, Bluegrass Now)
EARL SCRUGGS (w/ special guest stars)
I Saw The Light With Some Help From My Friends
Columbia/Legacy CK-92793
550 Madison Ave., New York, NY 10022
www.legacyrecordings.com
kay@commotionpr.com OR LegacyMediaRelations@sonymusic.com
With a title that nods to the music of Hank Williams and The Beatles, "I Saw the Light with Some Help from my Friends" was an Earl Scruggs' solo album that represents a different creative era for banjo virtuoso. In 1969, Flatt & Scruggs parted ways as a result of their disagreement about repertoire and whether to include folk material into their sets. Scruggs was also looking to broaden his musical horizons. From 1971, this album gave Scruggs to team with three of his sons (aka Earl Scruggs Revue), fiddler Vassar Clements, along with popular country vocalists Linda Ronstadt (4 tracks), Tracy Nelson (5 tracks), Arlo Guthrie (3 tracks), Nitty Gritty Dirt Band and some of Nashville's best studio musicians. Bob Wilson plays piano; Jody Maphis or Karl Himmel play drums; and Norman Blake appears on dobro.
Songs are drawn from the country genre (Merle Haggard's "Silver Wings," Johnny Cash's "Ring of Fire," Hank Williams' "I Saw the Light"), blues (Tracy Nelson's "Motherless Child Blues") and pop (Michael Nesmith's "Some of Shelley's Blues" and "Propinquity"). The banjo is relegated to a more minor role than it played in Earl's earlier straight-ahead and classic bluegrass endeavors. I believe that the project was an effort to reach out to younger people, and Don Law's liner notes also acknowledged that "Earl Scruggs is far more than a bluegrass banjo picker." I consider the album (like the seminal 1971 Nitty Gritty Dirt Band's "Will the Circle be Unbroken" project with also featured Scruggs) to be a popular success that served to help bring a largely urban youthful audience to bluegrass.
Like the Nitty Gritty project, "I Saw the Light with Some Help from my Friends" helped to form a new circle that would unite past and present through music. The success of albums like these were proof that different generations could respect each others' brands of music. Originally a folk singer from Wisconsin, Tracy Nelson could also belt out the blues and built her early reputation as a singer on the west coast before moving to Nashville. She appears on five tracks, but her own self-penned 1971 recording of "Motherless Child Blues" is a highlight. "Tramp on the Street," "Fireball Mail," and "The Cure" are previously unreleased cuts.
The songs chosen range across a wide musical spectrum from folk to rock, country to pop. Cross-pollination of musical genres has its place, and listeners with eclectic interests find much to enjoy from the resulting blend. When I pour a glass of refreshing beverage at the local mini-mart, I might mix up a concoction of sweet and unsweetened ice tea, lemonade and a few shots of 7-Up. I wonder if Earl Scruggs does the same. (Joe Ross, staff writer, Bluegrass Now)
UNION KUN-TREE
Are You Ready
Ecore Fabre Records, No number
715 E. 4th St. El Dorado, Ar.71730
TEL. 870-862-0261
http://cdbaby.com/cd/unionkuntree OR www.sonicbids.com/unionkuntree
email twobirds@seark.net (Kathey Bird)
Playing Time - 29:27
The music of the Bird and Davis families can be traced back over 100 years to the "Champagnolle String Band" that played on local Arkansas radio in the late 1920s and early 1930s. The sub-title of this CD states "Celebrates Fifty Years in Music." Some historical background is needed. I was not familiar with Union Kun-Tree, but I knew about Bluegrass Kun-Tree. In a section about musicians who entered into bluegrass since the late 1950s, Bill Malone's book (Country Music USA) says "Joe Wilson, from Eldorado, Arkansas, and the leader of a group called Bluegrass Kun-Tree, was one of the best singers in bluegrass music, with a soulful style that somehow suggested the phrasing and emotion of two great but dissimilar stylists: Ralph Stanley and George Jones (Wilson died from a heart attack at his home in Eldorado on Sept. 14, 1984.)" Joe Wilson and Phil Breeding actually worked with Bill Malone in New Orleans (before Phil worked with Carl Sauceman who had a radio station in Gonzales, La.).
Bluegrass Kun-Tree's previous albums include: The Salt Creek Park Winners, I Just Think I'll Go Away (Kun-Tree 001), Lonesome River (Kun-Tree 002), and Stretching Out (Ridge Runner 0029). The early LPs included Dorothy Bird (fiddle, vox), Bobby Bird (guitar, vox), Joe Wilson (banjo, vox), Gary Bird (fiddle, vox), and Phil Breeding (bass). BU reviewed their second and third albums in the 2/80 issue. Frank Godbey acknowledged that "they won the best band award at Hugo, Ok. in 8/78, have excellent singing and understated but appropriate picking, the voice of Joe Wilson is the one that stands out, their instrumental accompaniment is played in a straightforward fashion...is usually tasteful, to the point, and technically above average, and their material is mostly familiar with only a couple of new choices."
The fourth album ("Stretchin' Out") was reviewed in BU's 11/81 issue by Richard Spottswood. Besides Joe Wilson, Bobby Bird, Gary Bird & Phil Breeding, it also had Gene Wooten (dobro), Roland White (mando), Junior Knight (steel guitar), Robert Bowling (piano), Gerald Jones (drums), and Dahrell Jones (drums). Spottswood called them a "clean, professional outfit whose instrumental and vocal stylings blend nicely." He also noted that the band was blessed with a good songwriter in Bill Caswell who authored 5 songs...all nice and "kun-tree." He said that "not one song or musician stood out over the other...this indicating their hard work and much thought given to a good unified group sound."
Finally, there's a full-length feature article about Bluegrass Kun-Tree in the 8/82 issue of BU. It was written by Arlie Metheny. Guitarist Bobby Bird talks about getting together with Mickey Davis and his cousin and forming a band in the 50s. They played on an Eldorado radio station for 4 and a half years. They played hillbilly tunes, country and country swing. Mickey Davis became the new fiddler in Bluegrass Kun-Tree, replacing twin fiddlers Gary and Dorothy Bird. Mickey's a cousin to Bobby and Gary and grew up in that area. Mickey's grandfather was a fiddler, and he took some lessons but quit. Then, a few years later, he got some lessons from a guy in Smackover. Mickey's dad was killed when Mickey was 11, and he spent a lot of time with his cousins. They formed the Chitlin Switch Roadrunners. Mickey said, "We were hot to trot. We played on the radio for awhile as kids."
Mickey went on to major in music at Northeast State in Louisiana, had a very good teacher there, got a scholarship, and got set up in music instead of joining the Air Force like he was thinking of doing. He started teaching music and playing in a symphony orchestra in Jackson, Miss. He did studio work too. His main full-time job (for 10 mts of the year) was with a program with the symphony orchestra. As of the article in '82, he'd done that for 12 years. Summer was his off time so he could go play bluegrass. Mickey also said he was married and had a boy who played guitar and a little banjo but wasn't too interested in it. His daughter (14 at the time) was "burning up piano." Mickey started with Bluegrass Kun-Tree when Gary hurt his hand and they had a lot of festivals scheduled. (In early 1981, Gary had cut off his left ring finger with a router).
Union Kun-Tree is the band that has evolved from this earlier Arkansas bluegrass tradition. Under this name, they have previously recorded two singles ("Daddy's Train and "Legend of Fayetteville"). The band is now Bobby Bird (guitar, vocals), Gary Bird (fiddle, vocals), Joe Wilson Jr. (banjo, vocals), Mickey Davis (fiddle), and Phil Breeding (bass). Guest musicians on "Are You Ready" include Dwight Bird (banjo), Jamie Bird (mandolin), Nick Charles (guitar, bass), and Newell Roberson (dobro). The group has been honored by the Arkansas State Legislature, and they have been nominated for the Natl. Heritage Fellowship Award and the Presidential Medal of Freedom Award.
"Are You Ready" is Union Kun-Tree's first of many gospel albums they plan to release. Bobby and Kathey Bird wrote the album's title song. This 29-minute release is a pleasure to hear, and the same kinds of earlier review comments hold true even today about their cohesive instrumental and vocal work. It is gratifying to see a band maintain their signature sound over the years. The fiddle work, as well as Bobby's and Joe's lead vocals, are especially noteworthy. Thanks to the higher quality recording techniques today, we are treated to an even more inspiring, optimistic and "kun-tree" experience than they gave us on the Bluegrass Kun-Tree projects of earlier days. (Joe Ross)
TANGLEWEED
Squatney Records 45000
2649 N Albany, Chicago IL 60647
www.tangleweed.org OR www.cdbaby.com
paul@tangleweed.org
Playing Time - 29:17
SONGS - Train 45, C-Jam Blues, Spoonful, Banjo in the Holler, Cindy, Make Me a Pallet on the Floor, Blackberry Blossom, Columbus Stockade Blues, Old Joe Clark, Katy Kline, Ragged but Right, Orange Blossom Special
Tangleweed is a self-professed Chicago-based "foot stompin', moonshine drinkin', bluegrass group" whose new CD, "Just a Spoonful" captures their live exuberance and energy. Ryan Fisher (banjo), Paul Wargaski (upright bass), Billy Oh (fiddle), Kenneth Rainey (mandolin), and Scott Judd (guitar) appear to share a chemistry that results in some good-time music drawing inspiration from old-time, bluegrass, jug band and swing music.
Playing regularly since mid-2004, Tangleweed chose to record their debut live to two tracks in an empty second-floor Chicago apartment . There are no tricks, electronic wizardry, or overdubs here. For folks who like a few "warts" on their music (ie. not the slick studio productions from the dimple of the universe), Tangleweed does the trick. Their enthusiasm is infectious. Each track spans 3 minutes or less, and includes a few floorboards creaking, feet stomping, and perhaps even some heavy breathing. While this approach captures their live energy, vocals are bit hard to understand at times. My guess is that this 29-minute set was developed as both a demo CD and as a product to be sold. Their repertoire draws from standard fare in the hit parade of bluegrass, with warhorses like Train 45, Cindy, Make Me a Pallet on the Floor, Blackberry Blossom, Columbus Stockade Blues, Old Joe Clark, and Orange Blossom Special. Besides the title cut, other favorites were C-Jam Blues and Ragged but Right.
Tangleweed has some rough edges. However, with too much polish on their chrome, Tangleweed would lose their bluegrass spunk. They're the kind of band that no doubt goes over better live than on a CD. I would imagine that they'd get plenty of people tapping their toes numbers like "Spoonful" despite its drug-related connotations. Their next project will be multi-tracked in a recording studio. Tangleweed is associated with TwangOff Records (www.twangoffrecords.com) which offers live recordings of Chicago showcase performances just minutes after the shows. For a mere $7, Tangleweed can also be heard on the December 2004 edition of "The Homegrown Series."
Tangleweed plays mostly watering holes, and their primary mission seems to be for everyone to have fun in their presence. This attitude will no doubt allow them to just keep getting better and better with a few more years of experience and maturity. In the meantime, they may not be quite ready for a Grammy Award, but I appreciate their spirit and ability to get the toes tapping. As they sing at track 11, they're a little ragged but they're right. Pick up a copy of "Just a Spoonful" over the Internet from cdbaby.com (Joe Ross)
DANNY BARNES -
Get Myself Together
Terminus Records 0502-2
PO BOX 12260, Atlanta, Ga. 30355
Email info@terminusrecords.com OR michelle@michelleroche.com OR m.roche@charter.net
www.terminusrecords.com OR www.dannybarnes.com
Playing Time - 42:04
Songs - 1. Get Myself Together, 2. Rat's Ass, 3. Big Girl Blues, 4. Get Me Out of Jail, 5. Sympathy for the Devil, 6. Cumberland Gap, 7. Let Your Light Shine on Me, 8. Cut a Rug, 9. Corn Kingdom Come, 10. Wasted Mind, 11. Get it Down the Line, 12. Cat to the Rat, 13. Big Shoe
Danny Barnes shows us how musicians can be very successful by doing more with less by treating us to rawboned arrangements of songs inspired by old-time, blues, bluegrass and jug band music. Barnes plays guitar, banjo, and even tuba on one track. Four songs have smokin' fiddle or sweet violin sawed by 19-year-old Brittany Haas. They do a particularly nice job on the banjo/fiddle rendition of the traditional "Cumberland Gap." Garey Shelton's electric bass is in the mix of four songs. With a vocal charisma characteristic of John Hartford, Norman Blake and Guy Clarke, Danny's singing and delivery have a heartwarming alt-country quality. Formerly of The Bad Livers, the multi-instrumental entertainer does a lot of solo shows as well as session work and touring with the likes of Tim O'Brien.
"Get Myself Together" doesn't try to knock us upside the head with pretentious or ostentatious music. Rather, it has a rusticity that is immediately charming. But don't think that what Barnes does is as simple as child's play. It takes a bunch of skill to be picturesque with one's minimalist music, arranged with just a few instruments, and crossing over into so many genres. This is the meat and potatoes of Americana music.
An old-time rendition of the Rolling Stones' "Sympathy for the Devil" could become one of his trademark songs. But the practitioner of taste also introduces us to The Frigidairs, an imaginary multi-tracked gospel quartet comprised of Danny singing four of the five parts (Garey Shelton singing the fifth) on Blind Willie Johnson's "Let Your Light Shine on Me." Mark Graham is an interesting and whimsical tunesmith who may have written "Corn Kingdom Come" just for Barnes. Capricious lines like "I'll be the king of corn liquor, and you can be the queen of fools" are interspersed with funky guitar rhythms and flatpicked riffs.
About half of the album are Barnes' originals, and the title cut has a swing jug band feeling to emphasize his message to "get myself together somewheres else." In "Rat's Ass," all of us should be able to relate to being driven wild by people who talk too much and just wanting a jug of Œshine. With a few chuckles along the way from the singer himself, we can tell that he had fun recording these songs. "Get Me Out of Jail" is a sorrowful tale of a guy addicted to Oxycontin. His profound countrified advice (learned in fine folkloric fashion from his daddy, or so he says) is often pretty honest and straight: "You can work in a coalmine, You can make a little moonshine, or you can get it on down the line." That seems to be a recurring theme here. People can control their own destinies, but many makes poor decisions and wind up on those highways of pain, sorrow, misery and regret. He's a good storyteller with songs like "Cat to the Rat" and "Wasted Mind," and his blues riffs on "Big Shoe" (music written by one of his collaborators, Bill Frisell) keep us thrilled. I sometimes wish that musicians didn't have to be so authentic that they strive for vintage sound complete with LP scratches. Maybe just start the song with a minute of this then seque into a cleaner sound that capitalizes on today's audio technology.
On the surface, Danny Barnes might appear a little eccentric or disjointed like the image on this album's cover, but I know better. He's very tuned into the heart and soul of roots music, and he has the necessary skill to present it in a rollicking and gleefully pleasing style. Relocating to Seattle from Austin in 1997, the wry-witted and indefatigable Danny Barnes still has a lot of Texas outlaw sensibilities that have taken root and have found fertile soil for their growth in the Pacific Northwest. (Joe Ross)
SHADY CREEK OUTLAWS WAYLON GRASS:
A Bluegrass Tribute to Waylon Jennings
Rural Rhythm RHY-1023
PO BOX 660040, Arcadia, CA. 91006-004
TEL. (626)286-8742 Email ruralrhym@aol.com OR Bluegrasssammy@aol.com
www.ruralrhythm.com OR www.shadycreekoutlaws.com
Playing Time - 37:51
Waylon Jennings once said something to the effect that "I ain't no cowboy. I'm a country boy. I'm a hillbilly. My music ain't no Nashville sound. It's my kind of country. It's not western. It's Waylon." That, in a nutshell, might be why bluegrass renditions of his songs work well. What other genre can so delightfully tap Waylon's classic country spirit and hillbilly charm so tactfully and respectfully? Of course, we can't help but compare these bluegrass renditions to the original arrangements. Despite their promotion as "bluegrass with attitude," the North Carolina-based Shady Creek Outlaws are a little weak in the mandolin and fiddle departments which don't allow them to achieve the greatest potential from this idea. The banjo's equalization and body are also rather thin on this project.
The Shady Creek Outlaws include J.D Prince (mandolin), Alan Chastain (guitar), Ronnie Chastain (banjo), Randy Bryant (fiddle), Dale Roberts (bass) and Wayne Bridge (guitar, dobro). What the band lacks in some instrumental prowess, they make up for in spirited vocals handled by J.D., Ronnie and Alan. The Chastain brothers were the core impetus for the band's formation. Ronnie started performing at age 17, but it wouldn't be until he turned 45 that he and his brothers, Alan and Odell, formed "Shady Creek." They put out a CD, played small local venues, and also booked some festivals in Tennessee. It was at the 2003 Cherokee Jamboree's Battle of the Bands that they met Jody Prince and shortly thereafter formed The Shady Creek Outlaws. The foundation of their outlaw bluegrass sound is "just feeling the music."
The Outlaws pick some classic Waylon to cover: Good Old Boys, Never Could Toe the Mark, Good Hearted Woman, I'm A Ramblin' Man, Lucille, and the great tribute to Hank Williams, Are You Sure Hank Done It This Way. The latter was a minor pop hit for Waylon in 1974. How does one choose which songs to put on a tribute album? There are a couple that I wish The Outlaws would've worked up My Heroes Have Always Been Cowboys, Luchenbach Texas, Belle of the Ball, Amanda, Lonesome Onry and Mean are the ones that immediately come to mind. Perhaps another volume is forthcoming. I understand from label President Sammy Passamano Jr. that this album is the first in a new series from Rural Rhythm Records entitled "Fresh Cutgrass." Tribute albums seems to be catching on, and they are being used as vehicles to introduce many to bluegrass music in general. Waylon Jennings is a legend who left an idelible mark on the American country music scene. At only age 64, he died on 2/13/02 as a result of complications of diabetes. While the Shady Creek Outlaws venture is a novel idea, I'm not sure that they'll make much noise or have much impact with this tribute. For fans of Waylon's music and bluegrass, it will end up making a nice curio in one's music collection for folks who'd like to hear his music done in a slightly different manner. (Joe Ross)
MIRANDA LAMBERT
Kerosene
Epic EK 92026
Sonynashville.comn OR mirandalambert.com
Jane.grimes@echomusic.com OR john.gusty@echomusic.com
Playing Time 46:17
Chad Cromwell's pounding drums and Glenn Worf's throbbing bass lay the foundation and set the stage for Miranda Lambert's explosive music that has country, pop, rock and even a few bluegrass sensibilities. The talented and beautiful young lady was on the first season of USA Network's "Nashville Star" show when Buddy Jewell won. Now she's a Sony recording artist, and her successful singles, the upbeat "Me and Charlie Talking" and sad "Greyhound Bound For Nowhere" got much airplay and kept the buzz about Miranda buzzing. It just goes to show that she can cover many emotions in her strong vocalizing. Besides singing with style and verve, what's equally amazing is that she is an astonishing songwriter too. She wrote or co-wrote eleven of the twelve singles on "Kerosene," collaborating with one of her "Nashville Star" competitors (Travis Howard) on "Bring Me Down" and "Mama, I'm Alright." Howard wrote "I Can't Be Bothered," a two-stepping honky tonk tune that serves as an especially nice showcase for the steel and electric guitars. Although they didn't immediately take to each other, Howard and Lambert developed a bond after sitting around playing each other's songs on guitar. Miranda wrote "What About Georgia" about Howard in response song to his "Train Wreck," a less than flattering song written about Lambert.
Miranda Lambert is only 21, and she's taking her time to do things right. She understands that the road to stardom is a long, uphill climb that involves much hard work and some luck. While her music has pop leanings, I can appreciate that her musical interests also include blues, ballads and alt-country vibes. A taste of mandolin (Randy Scruggs), banjo (Mike Wrucke), harmonica, and even jaw harp sneak into some of the full mixes. That down-home feeling is what helps make "Me and Charlie Talking" a favorite cut on the project. It also has a simple, upbeat heartfelt message that tells a story about friends growing up. In true collaborative fashion, Miranda and her guitar-picking father took turns for 3 hours on a rainy night writing alternate lines for "Greyhound Bound for Nowhere" about a woman on a bus thinking about her lover and his girlfriend.
From Texas, Miranda was singing in talent shows by age 10. High school choir and an interest in the music of Mariah Carey led to a Tru-Valu Talent Search Contest in April, 2000 at age 16. She started playing guitar and writing songs by age 17. Her father taught her five guitar chords, and Miranda wrote ten songs. A small budget independent record and playing throughout Texas with her band, Texas Pride, got her thinking more and more about pursuing a music career. A couple songs landed on the Texas music charts. Nashville Star was next She first competed in Dallas, but didn't make the top 30 out of 250 participants. Lambert sang Shania Twain's "Still the One," a song not well-suited for her voice. Then she competed in Houston and won by singing "Crazy," along with two originals from her indie album, "Lyin' Here" and "Somebody Else." In the Nashville finals, she came in third with the judges commenting on her great look, sparkle, voice, and confidence.
"Kerosene" is some very combustible material that is sure to explode and launch Miranda Lambert's career to even greater heights. Light up Miranda's music, and watch her burst upon the country music scene. (Joe Ross)
VARIOUS ARTISTS
Ultimate Pickin'
The Best of Instrumental Bluegrass
Pinecastle PRC 1147
PO Box 753, Columbus, NC 28722
www.pinecastle.com
EMAIL andy@pinecastle.com
Playing Time 67:30
Songs - Clinch Mountain Backstep 2 Forked Deer 3 Sally Ann 4 Done Gone 5 I'll Fly Away 6 Maggie Blues 7 Foggy Mountain Special 8 St. Anne's Reel 9 Roanoke 10 Steel Guitar Rag 11 Louisville Breakdown 12 Home Sweet Home 13 Leather Britches 14 Jesse James 15 Come Along Jody 16 Little Rock Getaway 17 Hot Burrito Breakdown 18 Red Apple Rag 19 Jerusalem Ridge 20 Dear Old Dixie
Derived from the various Bluegrass '90s albums that the Pinecastle label released, "Ultimate Pickin'" features Jeff Autry (guitar), Wayne Benson (mandolin), Aubrey Haynie (fiddle), Scott Vestal (banjo) and Mark Schatz (bass). Rickie Simpkins also plays fiddle on half dozen cuts. Rob Ickes plays resophonic guitar on 14 of 20 tracks, and Randy Kohrs plays on the remaining six tracks. Although most of the tracks are staples of the bluegrass repertoire, these players are able to impart their own stylistic interpretations and breathe new life into them. For example, the bouncing tempo and key changes in "I'll Fly Away" are a pleasant surprise as the breaks get handed around. "Roanoke" is given the barn-burning treatment. As a matter of personal taste, I prefer one tune ("Red Apple Rag") at a more moderate tempo. The original CD releases from the 90s had two accompanying AcuTab transcription books (Scott Vestal's banjo and Wayne Benson's mandolin).
These guys are all the cream of the crop musicians' musicians who have earned our respect for their great session and performance work over the years. I can tell that they had fun jamming up these tunes, and I can almost see their joy and creativity being exuded at the sessions. For a little motivation or inspiration, one need only put on a few minutes of this super picking. As hot and clean as their picking is, I can't help but think that a little more harmony might've embellished the project.
Drawn from the famed but sadly out-of-print "Bluegrass 96-99" series, this is the first time many of these 20 tunes have been available in years. Produced by Scott Vestal, this "ultimate" disc is truly worth of it's "Best of Š" moniker and is incomparably good. Absolutely extreme instrumental bluegrass favorites at their best! For their next challenge, I'd like to see them assemble the same pickers and give us 20 more tunes, new less-oft-heard ones that we can embrace as the 21st Century's standards. (Joe Ross)
BELL WITCH:
THE MOVIE (Soundtrack from the motion picture)
Penny Jar Records, No number
EMAIL bellbuckle@cafes.net OR Penni@HopeRiverEntertainment.com
www.bellwitchpremiere.com OR www.bellwitchthemovie.com OR www.bellwitchthebook.com
Playing Time - 63:05
1. Fly, 2. Ole John Bell (the Witches Curse), 3. The Dreams We Dream, 4. Dead and Gone, 5. Mountain Way of Life, 6. Foundation, 7. Shady Grove, 8. I Remember, 9. Jacob Spence, 10. Leave Well Enough , Alone, 11. Blind Beggar, 12. Will the Circle Be Unbroken, 13. Make New Choices, 14. Wade in the Water, 15. Wayfaring Stranger, 16. The Sentence, 17. Want You Gonna Do, 18. Talk About Surfering, 19. Amazing Grace
Over the years, some phenomenal bluegrass marketing and growth has been directly correlated with the music being used in movie and television soundtracks. Bell Witch premiered as a movie on September 24, 2005 at the Ryman Auditorium in Nashville. On BGRASS-L, musician Kraig Smith posted a humorous account of twelve people cramming into a limo which comfortably seated 10 for the movie's premier. The soundtrack showcases music from Jimbo Whaley, Valerie Smith and Liberty Pike, Jeannette Williams Band, Jeff and Vida Band, Wells Family, and Becky Buller. Interestingly, the movie's premiere broadcast via satellite in full-bandwidth high definition video to over 80 theaters throughout the U.S. That's a first for bluegrass music.
In a story that documents a terrifying, supernatural event in the 1800s, the Bell Witch ("Kate") haunted a pioneer family, murdered patriarch John Bell, and inflicted a reign of terror throughout the Tennessee countryside. The bluegrass soundtrack draws heavily from artists on the Bell Buckle record label (in Bell Buckle, Tn.) that has built a reputation for being able to tap into an authentic mountain consciousness with their original synthesis of old-time and bluegrass sounds. The soundtrack doesn't feature any instrumentals, but it instead focuses primarily on ballads that bring plenty of apparitions to musical life. Because of its emphasis on lyrics, I wish that at least 6 panels of the fold-out 18-panel CD insert would have included a majority of key original song lyrics written by the artists.
I particularly take to Becky Buller's five compositions on the project and have always felt that she shows great potential for being a regular contributor to the bluegrass canon in the generation ahead. "Blind Beggar" and "Leave Well Enough Alone" were favorites, largely as a result of their juxtaposition of old-time instrumental wok with very pleasing contemporary and bluesy vocal stylings. "Ole John Bell" documents the witch's curse, and Valerie Smith and Becky Buller do a nice job presenting Kate's theme song in rawboned fashion with only vocals and fiddle as the ghost comes to curse, claim and torment Bell's "worthless soul." Smith's "Jacob Spence" is a lonesome murder ballad that masterfully captures the cold, dank feeling of serving a 20-year prison sentence.
Debi Wells' "Make New Choices" is given an a capella treatment. Jimbo Whaley also plays a big role as songsmith, leader of the band Greenbrier, and even in the movie itself. Whaley's originals "Fly," "The Foundation," "The Sentence," and "The Dreams We Dream" are standouts. With the instrumentalists being challenged, "Fly" captures a boy's flight through a neighbor's cornfields. The latter is a sensitive song subtitled as the Bell Witch love song that alludes to the many joys of sweet and tender togetherness. Mandolinist Jeff Burke and guitarist Vida Wakeman (of the Jeff and Vida Band) harmonize well together and offer up some nice renditions of "Dead and Gone" and "Shady Grove." "Dead and Gone" asks for certain compassion and consideration when one's time comes to go. Johnny Williams' uptempo "What You Gonna Do" gets the toes tapping. As far as vocals on the soundtrack, Jeanette Williams is a standout on "I Remember." Some of the other vocalists sing with raw or gritty character and sentiments.
Kraig Smith speculated that the movie premier was somewhat like "a duck on a pond, cruising serenely on the surface, but paddling like heck underwater." The Bell Witch movie soundtrack is a big coup for these artists. It may not have the same impact as "O Brother, Where Art Thou," but it certainly shows that bluegrass music belongs in the movies on a much more regular basis. (Joe Ross)
BOB MITCHELL
Some Days This Place is a Zoo
No label, No number
PO Box 7281, Louisville KY 40257
EMAIL rwcgmitchell@bellsouth.net
http://home.bellsouth.net/p/PWP-bobmitchell
Playing Time 44:04
Tap the ethos of your inner child. Akin to a number of Dilbert cartoons being put to music, it's hard not to immediately start chuckling when Bob Mitchell sings his humorous music about office and home. Because I spend much of the daylight hours in a cube myself, I took to many of his messages like a mallard takes to a pond. Opening with "Stressed Out Blues," Mitchell evokes much of the same kind of emotional spirit that Hank Williams did with "Honky Tonk Blues." Mitchell's blues are related to not earning enough dough, a memo with forty more things to do, computers going down, budget cuts, and even his own in-service training where he performs these ditties.
Mitchell has been a bluegrass fan for about fifty years. He's a guitarist, author, social worker, seminar leader, keynote speaker, and an album reviewer for Louisville Music News. Although primarily into traditional bluegrass, he incorporates a little electric guitar, percussion and piano into some of his honky tonk and blues arrangements on numbers such as "I'm Going Where It's Peaceful." Some other favorites are "Will there be any Meetings in Heaven?" "The Whole World's on My Back," "Give Me that Old Time Depression," and "Tons of Paperwork." The melodies are familiar for many of Mitchell's songs. "Back to the Old Grindstone" takes its melody from "Sitting on Top of the World" as Bob sings "Was in the spring one sunny day, I got my check, two weeks of pay, It won't last long, I should have known, So it's back to the old grindstone." When "Has Anybody Seen the Nurse?," is up (written to the tune of "Five Foot Two"), it's very apparent that medical professionals can relate to such lines as "Change the sheets, eat those beets! Run the halls with swollen feet. Has anybody seen the nurse? Takes some blood, urine too, lots of fun things she can do. Has anybody seen the nurse?" The title cut uses the melody of "Mountain Dew" and the song stops and goes with corny one-liners in hee-haw fashion. Lyrics for his songs can be found on his website. While there aren't any vocal harmonies, the uncredited instrumental accompaniment is solid and pleasing.
Music is a great way to relax and humorously deal with stress and burnout. In fact, Bob Mitchell reminds us to not take things too seriously. Laughter has been shown to be great medicine. If you don't want to experience side effects of drugs, try singing along with Bob instead. His album is a ray of sunshine in a world that takes itself much too seriously. And, even as an overworked album reviewer, I relate to his perceptive insight that "This job of mine sure is fun. At the end of a day I'm never done. The real problem is my brain's gone numb. The whole world's on my back!" (Joe Ross)
SONS AND BROTHERS
WestGrass
No label, no number
c/o Frank Wolking, 67449 Highway #69, Westcliffe CO 81252 TEL. 719-783-3351
E-mail sonsandbrothers@centurytel.net
www.Sonsandbrothersband.com
Playing Time - 52:02
Songs: 1. Oh Captain My Captain 2. Measure of a Man 3. Up on the Divide 4. Diamond Joe 5. She 6. Old Ebenezer Scrooge 7. Rodeo Hobo 8. Turn to Jesus 9. Orphan Train 10. Vaquero Joe 11. Lights of Cheyenne 12. Sweet Hour of Prayer
Based in Westcliffe, Colorado, the Sons and Brothers' new album, "WestGrass" focuses on acoustic and gospel material that draws upon life experience and history. There are references to horses, mountains and cowboys that evoke images of their rural Rocky Mountain home. Guitar/mandolinist Frank Woking and his three sons, Mike (guitar, dobro), Aaron (acoustic bass guitar) and Joe (mandolin, fiddle), draw songs from the traditional sources, Bill Monroe, Mike Flemming, Gram Parsons/Chris Ethridge, Martha Scanlon, Mike Flemming/Les Buffham, Bruce Phillips, E. Smith and Jack Murphy. The album opens with "Oh Captain, My Captain," a Walt Whitman poem put to music by Joe Woking, who also put his pen to work composing the high-stepping instrumental "Vaquero Joe." Their audio quality is a slight bit bassy on this piece, and some of their vocals seem to have been mixed in the studio with a little much compression. A telltale sign of this is when breaths can be heard regularly folowing each phrase. Like their late-2003 release called "Hold Fast," the Sons and Brothers display their many energetic facets of vocal and instrumental prowess on primarily slower to moderate tempo'ed songs that tell stories. Long-time friend and band supporter Ron Thomason (of Dry Branch Fire Squad) guests with twin mandolin on "Old Ebenezer Scrooge."
In the region around their town of 300 at the base of Colorado's Sangre de Cristo Mountains, the charismatic Sons and Brothers are well known. Started in 1998 as a Christian music band, their eclectic presentation deserves a much wider listen. Besides gospel, the band shows tinges of country, bluegrass, folk, western and old-time mountain inspiration. Being out West and playing "WestGrass," they may have more freedom to push their musical envelope beyond any imaginary boundaries imposed by traditional practitioners of a genre. Herein lies their strength an ability to not be constrained. The band also puts considerable effort into arrangng their music to make it their own. They simply are building a reputation for being talented, young, professional acousticians with a diverse repertoire that is sure to please audiences made up of folks with many interests. They are touring farther afield, even to Europe, and introducing more and more people to their tasty blend of WestGrass music. (Joe Ross)
JAKE SCHEPPS
Expedition
No label, No number
Boulder, CO. 80304
jake@jakeschepps.com
www.jakeschepps.com
Playing Time - 43:39
SONGS - 1. Bluff's Collar, 2. Master of the Ages,3. When I'm 64, 4. Sorrento Waltz, 5. Moo Old Cow, 6. Warbonnet, 7. Beyond the Blue, 8. The Narrows, 9. Samba de Orpheus, 10. A Footlight Favorite, 11. Civilization, 12. Lullaby Lucy
Ever since Earl Scruggs emerged on the scene, others' able hands have taken the banjo on incredible musical journeys into new territory. To that effect, Jake Schepps is also a pioneer with his banjo tunes. Guys like him reinforce the great potential of the five-string, and they make it look too easy. "Expedition," the title of his independent self-released album indicates that he knows where he's headed with his music, but I believe that his purpose is also one of exploration. From Colorado, Schepps and his muscial friends demonstrate an affinity for new acoustic, swing, ragtime, jazz, Latin and bluegrass.
Jake assembled some high powered string wizards from various musical walks of life to assist: Greg Schochet (mandolin, guitar), Ivan Rosenberg (dobro), Eric Thorin (bass), Ross Martin (guitar), Gabe Witcher (fiddle), Kailin Yong (fiddle), Benny Galloway (guitar, vocals), Jeff Hamer (guitar, vocals), and James Hoskins (cello). These artists have made significant marks on bluegrass, country, swing, honky tonk, salsa, Flamenco/Indian, classical, jazz and new acoustic scenes. Schochet, for example, has performed with Runaway Truck Ramp, All Night Honky Tonk All-Stars and Greenwich Gulch. Rosenberg has played with Steel String Theory, Hit & Run Bluegrass, Chris Stuart & Backcountry, Iron Lasso, and The Creek Jumpers. Thorin toured with the Tony Furtado Band for four years and currently plays with Open Road. For the past six years, Denver-based Ross Martin has worked with The Theory of Everything, Mollie O'Brien, Ron Miles, Tony Furtado Band, The Motet, Nina Storey, Matt Flinner Quartet, Three Twins, Greenwich Gulch and others. Jeff Hamer is with The Single Malt Band and Great American Taxi. This array of experience gives some idea of the talent that's on-board Schepps' Expedition that was originally inspired by a Strength in Numbers performance at the Telluride Bluegrass Festival.
Schepps' current project is the Strings of Tao, an ensemble with two violins, cello and banjo, playing original music, Brazilian choro tunes, fiddle tunes, and beyond. Prior to that, Jake spent 9 years leading trips for The National Outdoor Leadership School (NOLS), and teaching emergency wilderness medicine courses around the world. During this intervening outdoor work, Jake has been a guest on stage with Leftover Salmon, Yonder Mountain String Band, Runaway Truck Ramp, Hit and Run, Shanti Groove, Greenwich Gulch, Element 37, and Broke Mountain Bluegrass Band. Jake is a frequent contributor to Banjo Newsletter, and is currently working on an advanced instruction manual for the 5-string banjo.
"Expedition" features six instrumental originals, and six other tracks unique to the string-band setting, including two previously unrecorded Benny Galloway songs. The instrumental work really shines, with "Lullaby Luck," "When I'm 64," and "Samba de Orfeus" being standouts. "Warbonnet" has a recurring theme that illuminates the tasty original composition. The three vocal numbers are the weakest cuts, mostly because they seem a bit out of place overall and Galloway's singing is an acquired taste. While this is a banjo-centric album, it's also full of many stellar guitar, mandolin, cello, resophonic guitar, and bass moments that sit nicely throughout the arrangements. The exploration covers a gamut of tonal discovery and textural artistic expression. With his Nechville banjo in hand, Jake Schepps takes us on a very exhilarating ride. (Joe Ross)
JOHNNY WILLIAMS
1-800-LONESOME
Bell Buckle Records BBR-016
www.jeanettewilliams.com OR www.HopeRiverEntertainment.com
Grasstank@mindspring.com
Playing Time - 38:11
1. 1-800-Lonesome, 2. Down Hearted, 3. Take Your Love And Go, 4. Shutters of My Heart, 5. Love Me or Leave Me Alone, 6. Trail of the Old Lonesome, 7. Never See Mama or Daddy Again, 8. Sweethearts in Heaven, 9. Perfect Joy, 10. Sailor's Regret, 11. Round Woods, 12. You Don't Love Me Anymore, 13. I Cling To Your Memory, 14. When The Blue Ridge Turns To Red & Gold
Both Jeanette and Johnny Williams' lead vocals have a dynamic force and magnetic charm that reveal a natural inclination for honest, sincere messages in their largely original songs. The perfect backdrop for these vocals is the melodious instrumental accompaniment. Songs with beautiful, life-affirming tales are the fare of 1-800-LONESOME, the title cut written by Tom T. and Dixie Hall. "Down Hearted" was also penned by the same team. Being featured on Prime Cuts of Bluegrass, Volume 71, brought the composition some good airplay and DJ feedback from around the world.
Johnny Williams is an award winning singer and songwriter from Virginia. He took first place in the bluegrass division of the Chris Austin Songwriting Contest at Merlefest in 1998 and 1999. Besides with The Jeanette Williams Band, Johnny's songs have been recorded by Rambler's Choice, New Classic Grass, Larry Stephenson, Honi Deaton & Dream, and Special Consensus. As President of the Dan River Region Bluegrass Association, he works tirelessly to promote the music there.
Although this is guitarist/singer Johnny Williams' debut project, it is really another Jeanette Williams Band project with Jeanette (bass, vocals), Marsha Bowman (banjo), Stephen Fraleigh (fiddles), and Ashby Frank (mandolin) prominently featured throughout. Sally Jones sings baritone on the title cut. The band imparts some powerful intensity on a number of songs, with their straightforward drive being most apparent on "Sweethearts in Heaven," a song written by Buck Owens.
With other songs written by Tom T. and Dixie Hall, Ron Spears, Jimmy Haley, Jeremy Garrett, and Bill Bryson, 1-800-LONESOME picks some material with compelling narratives. The album comes to a close with the songcrafting of Johnny taking the spotlight. Four of the last five cuts on the CD were penned by Johnny. "Sailor's Regret" is a tale of sorrow with the refrain "this ol' country boy is afraid of dying at sea." Marsh Bowman's clawhammer banjo set an old-time stage for an instrumental "Round Woods." "I Cling to Your Memory" has a slower _ time, and the band wisely incorporates Fraleigh's twin fiddles to give it a plaintive mournfulness so characteristic of bluegrass of the lonesome variety. To close the album, Johnny sings "When the Blue Ridge Turns to Red and Gold," a tale of returning home to one's true love. (Joe Ross)
HIT & RUN BLUEGRASS
Without Maps or Charts
HRB-02
Rebecca@hitandrunbluegrass.com
TEL. (303)818-3811
www.hitandrunbluegrass.com
Playig Time - 41:08
Hit & Run Bluegrass' second CD, "Without Maps or Charts," is a welcome continuation of the enchanting repertoire of this Colorado-based band formed in 2001. Solidly one of the most engaging and dynamic co-ed bluegrass bands on the scene, they've already won the band contests at Rockygrass, Telluride and the SPBGMA International Band Championship in Nashville. Their hard travelling, touring, and marketing of this project make them a cut above the rest of the many indie bluegrass artists trying to make a bigger name for themselves. I surprised that this band hasn't landed a record label contract yetŠor perhaps they have and are just depending on theor own moxie to succeed. Kenny & Amanda Smith helped with the production of their second release which was priamrily recorded in Charlotte, NC. Their signature sound is "authentic-yet-modern" bluegrass. Compared to ther debut, I must admit to slightly missing guest fiddler Aubrey Haynie in the mix of their second project.
Each of the band's musicians bring some impressive skills to the cohesive unit. Guitarist Rebecca Hoggan is originally from Virgina and has expert command of flatpicking and singing. Covering an old favorite of hers from Bonnie Raitt in the 1970s, she sings theopener "Any Day Woman" written by Paul Seibel. Hoggan composed and sings "Why Does This Old Town Look Better Now," and she sings lead on two other songs that come from Lisa Aschmann & Ellen Britton, and Danny Shafer. Todd Livingston is the 2001 Rockygrass Dobro Champion. John Frazier's mandolin and fiddle playing, as well as singing, are very proficient, and he contributes the well-penned original songs "Home is Where I'll Ever Be" and "Lockdown for your Love." He also wrote additional lyrics for and sings lead on the traditional "Flying in the Wind" (frm Hobart Smith's "Cuckoo's Song" on an Alan Lomax recording). Aaron Youngberg is a banjo champion who hails from Fort Collins, Co. Such as on "Flying in the Wind," his rolls are crisp, clean, syncopated exactly when necessary. Erin Coats, from Wyoming, is only in her early 20s, but she's been playing bass since age nine. The stalwart vocalist sings lead on four numbers, including a barn-burning rendition of Ralph Stanley's "Highway of Regret" to close the album and show their support and respect for the first generation of bluegrass (something they always do in every show). Only banjo and fiddle accompany the duo of Erin and Rebecca on the traditional "Single Girl."
Among the most promising young bands in the nation today, Hit & Run Bluegrass has clearly emerged as a major force in the market as they introduce a younger demographic to their large body of original music. At the same time, they've managed an enchanting magnetic sound that also thrills long-standing bluegrass fans who simply know and enjoy good bluegrass. Th band members are focused on their goals, and they maintain a heavy touring schedule in support of their self-released ablums. Their greatest may be yet to come. I was happy to see lyrics included in the CD jacket. Without the need for maps or charts, Hit & Run's compass is taking them to great success. (Joe Ross)
VARIOUS ARTISTS
Tone Poets (2 CDs)
Acoustic Disc ACD-62
Box 4143, San Rafael, CA 94913 TEL. 800-221-3472 OR (415) 454-1187
EMAIL publicity@acousticdisc.com OR rb1229@earthlink.net
CD1 Solos (57:37), CD2 Duos (57:31)
SONGS DISC # 1 Solos: Blue Bells of Scotland, I Thought About You, Corrente in D Minor, Ananas Africain, Jimmy Fell Off the Wagon, Down in the Willow Garden, Spring Break, Gypsy Playland, Backin' Playwards, Ruben's Train, Cherokee, Improvisation No. 1, Joyful Variations, Afternoon Rag, Song for Meghan, Ave Maria
DISC #2 Duos: You Are My Flower, Impromptu, Glen Rock, Lost Highway, Cochichando, Were You There, F-5 Riddle Blues, Constant Lowdown, Moonlight in Vermont, Hattie & Jenelle, The North Shore, Old Dangerfield, Waltz for the Underworld, The Old South, Blues for Vassar
Good tone is all about what sounds good to one's ears and when the instrument sounds full with plenty of depth in the notes. They ring out in clarion fashion and sustain. An instrument's player and their technique determine tone, but the instrument must be reasonably well-made also. Hearing good tone is a rather subjective exercise because people hear tone differently. One musician's priorities may be different than another's. Sounding nice should be the main objective and not necessarily playing a lot of notes or technically challenging material. As an experiment to investigate tone, David Grisman assembled a number of gifted musical poets able to express beautiful and lyrical music. What a great idea that both titillates and stimulates our aural sense. The lean arrangements result in splendid clarity on an entire body of music that is both relaxing and ethereal largely because tone is often best captured and demonstrated in slower selections.
The 2-CD set features a stellar cast of mandolinists and guitarists who all performed and recorded over a 4-year period on the same vintage 1922 Gibson "Lloyd Loar" F-5 mandolin and 1933 Martin OM-45 guitar. The mandolin is affectionately nicknamed "Crusher," and the orchestra model guitar was produced for only five years in the 1930s and was chosen for its ringing treble. The same microphones were also used (Neumann KM-84s for the mandolin; Neumann KM-84 and KM-85 for the guitar), and recording was done directly to the same _" 2-track analog Ampex ATR-100 tape recorder. No equalization was added during recording. Jerry Douglas and Rob Ickes both used a metal nut to temporarily convert the OM-45 to a slide guitar. Tone Poets is a continuation of the Acoustic Disc label's successful Tone Poems projects that explored the unique relationship between musician and instrument.
Besides Dawg himself, the contributing tone poets (42 altogether) include David Bromberg, Sam Bush, Jerry Douglas, John Jorgenson, Mike Marshall, Ronnie & Del McCoury, Tony Rice, Andy Statman, Bryan Sutton, Tim O'Brien, Frank Vignola, Chris Thile, Don Stiernberg and Frank Wakefield. I was a little sad to see only one woman (17-year-old Eva Scow) included, but she wasn't the youngest player invited to participate. That honor goes to 16-year-old mandolin prodigy Jacob Henry Jolliff of Forest Grove, Or.
As Grisman offers in the liner notes of the 28-page well-illustrated CD booklet, "It ain't the car, it's the driver!" Disc one alternates solo mandolin and guitar pieces. What is so exhilarating is that each player's techniques (whether using flatpick, fingerpicks, duo stylings, slides or bare fingers, standard or alternate tunings) are a sheer treat to experience by these masters. Multiple genres of music are also represented in the pieces chosen. There is classical, bluegrass, blues, jazz, gypsy jazz, hymns, traditional folk, Brazilian, and new acoustic. I am reluctant to pick a few favorite selections because every single one demonstrates penetrating virtuosity and innovation. The 15 duos on disc two range from Tim O'Brien and Bryan Sutton playing "You Are My Flower" to David Grisman and Tony Rice closing nearly an hour later with a 7-minute rendition of "Blues for Vassar." Tone Poets is creative artistry at its very best. As with an earlier Tone Poem project, I wonder if a companion book of music and/or tablature for the Tone Poets project would be possible. I'd love to hear another volume in the Tone Poets series, and it could even include one disc of trios and one of quartets. (Joe Ross)
JEANIE STANLEY
Baby Girl
CMH CD-8969
PO Box 39439, Los Angeles, CA. 90039
www.cmhrecords.com OR www.pickinon.com OR www.jeaniestanley.com
EMAIL jsa@isgroup.net
Playing Time - 43:36
SONGS - Baby Girl, Who Will Sing For Me, The Fields Have Turned Brown, The Memory of Your Smile, She's More To Be Pitied, How Mountain Girls Can Love, Harbor of Love, White Dove, Train 45, The Angels are Singing in Heaven Tonight, Two Sides to a Story, Jesus is Precious, The Lonesome River, Dream of a Miner's Child.
Subtitled "A Tribute To My Father Carter Stanley," this project features the lead singing of Jeanie Stanley who was only four years old when her father passed away on December 1, 1966 at age 41. Life on the road was hard, and the emotional and physical strain took its toll. Until his end, Carter sang with strength, feeling and conviction, and those same qualities are what his daughter Jeanie builds into her singing. Jeanie's uncle (Ralph Stanley) and cousin (Ralph Stanley II) also sing lead on a couple numbers. Vocal accompaniment is by Joe Isaacs (a long-time family friend who also produced the album), Stacy York (a member of Joe Isaac's band) and John Rigsby (former mandolin and fiddle player for Dr. Ralph Stanley). This recording includes two songs written by Carter Stanley which have never been recorded entitled, "Two Sides To A Story" and "Jesus Is Precious." The latter is sung acappella by Ralph Stanley. The album closer, "Dream of a Miner's Child" has Jeanie's voice mixed with her father's which was recorded live at the 1961 Chicago Folk Festival. Some favorite selections are the trios (like "The Fields Have Turned Brown") that have Jeanie singing with Ralph Stanley and John Rigsby. Stacy York and Joe Isaacs also sing harmonies on other cuts. "Harbor of Love" is the only quartet. I'm sure glad that Jeanie chose the mournful "Lonesome River" and "The Angels are Singing." I wouldn't have minded if she had included the classic "A Vision of Mother." Jeanie agreed with me that was one song that she wished now she had included, even if it had to make a 15th song.
The instrumental accompaniment is provided by the Clinch Mountain Boys, and they do a fantastic job. They feel it and play it in the old-time mountain way. Stacy York provides some solid harmonizing. The 16-page CD booklet has liner notes by Gary B. Reid, as well as many interesting photographs. None is as touching as the cover photo of Carter and Jeanie as a toddler, and when she closes with "O daddy, dear daddy please don't go away, I never could live without you." Ralph had to prove it could be done, not only with the passing of Carter but another of his lead singers, Roy Lee Centers, a few years later. Now resting in the old Smith Family graveyard in McClure, Va., Carter Stanley is a guardian from on high.
Ralph Stanley provided emotional support, encouragement and wisdom to help Jeanie realize this dream. Ralph says "I'm proud of it. It's good, it's a piece of history and people are gonna' love it." Carter would have been so proud of his "baby girl," and the tribute album also acknowledges the role that Jeanie's mother, Mary, played in remembering Carter and his music. Jeanie sings with rustic mountain twang and powerful delivery that reminds me a bit of Rose Maddox. I'm sure that it was moving experience for all of the musicians to work on this tribute album. The timeless music's sung right, done right, and has the proper feeling for a daughter's tribute to her eloquent songwriting, guitar-picking and singing father. With mountain soul, this album hits you right in the gut. As Jack Cooke would say, they keep it mountainous. (Joe Ross)
NORTHERN LIGHTS
New Moon
Fifty Fifty Music FFM 105
111 East 14th St., #300, New York, NY 10003
Tel. (212)366-5982 or (505)856-7100
direct@fiftyfiftymusic.com OR nlightsmgt@aol.com OR Dave@fiftyfiftymusic.com
fiftyfiftymusic.com OR northernlightsband.com
Playing Time - 42:24
SONGS - 1. Oh, Lady Be Good 2. Lonely Moon 3. Listen To The Radio 4. Empty Pages 5. Twenty Six Daughters 6. Bury Me Beneath The Willow 7. Sit Down Servant 8. Dusty Miller / Ride The Wild Turkey 9. Blue Chalk 10. Blue Yodel No. 4 11. Orphan Girl 12. Baby I Love You
How time flies. Northern Lights, a Boston band, can trace its roots to late-1975 when a good-time bar band decided to get seriously into progressive bluegrass music. For awhile (1977-81), the band was called "String Fever" (Taylor Armerding, Bob Emery, Rex Waters, Steve Arkin). Over the years, they've stayed on course, always providing their own interpetive twists to their defining music. While Taylor Armerding (mandolin, vocals) is no longer with them, another long-time member, Bill Henry, is keeping the Northern Lights shining brightly with some engaging acoustic music centered around strong mandolin, guitar, banjo, bass and vocals. Besides Taylor Armerding, other band alumni now include such superior players as Bob Emery, Jake Armerding (Taylor's son), Alison Brown (a member in the early 1980s when she attended Harvard), Mike Kropp, Richard Hand, Oz Barron, Jeff Horton, and Chris Miles. Many are continuing to pursue music full-time in other situations.
In the band's early days of the 1970s and 1980s, they recorded for Revonah. In the 1990s, award-winning Northern Lights put out three great projects on the Flying Fish label. Their songs found their way into Bluegrass Unlimited's National Bluegrass Survey. After their signing with Red House Records in 1996, Northern Lights put out "Living in the City" with its eclectic mix of folk, rock, gospel and original music. 2000 found the band on the Prime CD (now called Fifty Fifty Music) label that released "Three August Nights Live" with Vassar Clements in 2000, and "Another Sleepless Night" in 2001. Bill Henry released a solo album, "Red Sky" in 2002.
"New Moon" is a remarkable project with many stellar moments that marks guitarist/vocalist Bill Henry's new association with some fresh talent, all very experienced in the new acoustic genre. The lineup also consisting of Ben Demerath (vocals, guitar, mandolin), Dave Dick (banjo, mandolin, harmony vocals), and John Daniel (bass, harmony vocals) may be one of Northern Lights' best configurations ever. Dave Dick (Salamander Crossing) started playing mandolin and banjo with Northern Lights in early-2000. John Daniel (Brooks Williams) has been with the group since mid-2002. In mid-2003, Taylor Armerding left to pursue other musical endeavors, and Ben Demerath (Sugarbeat) joined up.
With the new line-up, the band has less emphasis on original material, but they wisely choose and arrange covers that sit nicely within their large envelope. Songs come from the likes of George Gershwin, Nanci Griffith, Steve Winwood, John Gorka, Gillian Welch, traditional sources and others. Their vocal showcases are the gospel "Sit Down Servant," "Lonely Moon" and "Empty Pages." It seemed a little odd for these four guys to be singing "Orphan Girl," but their lean arrangement is solid. Ben Demerath's original "Twenty Six Daughters" is an impressive number that builds with euphonious zeal as the vocals interplay with lyrical riffs. While typically done by strong female vocalists, Shannon Roosevelt's "Baby I Love You" is given an interesting Northern Lights arrangement full of emotional electricity. Jimmy Rodgers' "Blue Yodel No. 4" is presented with gusto. "Dusty Miller/Ride the Wild Turkey" demonstrates an instrumental bridge as the band drives traditional and contemporary roads. Past album projects have incorporated guest fiddlers, and that instrument was missed to a slight degree on "New Moon." However, the bottomline is that these four gifted veterans are both resonant and rousing with their new acoustic music. (Joe Ross)
GORDON TITCOMB
The Last Train
Rising Son Records RSR9501-2
10741 US Hwy 1, Sebastian, FL. 32958
www.gordontitcomb.com OR www.risingsonrecords.com OR www.cdbaby.com
INFO: Lisa Kay Howard mandolinlk@aol.com OR tunesmith53@yahoo.com OR tscathy@risingson.com
Northwest Hills, CT USA
Playing Time 29:58
Songs - 1. If It Were Up To Me, 2. Gold Plated Love, 3. The Last Train, 4. I Had A Dream, 5. Take Me Back, 6. The River, 7. Snicker Doodle, 8. Pennies A Day, 9. Snake River Hoedown, 10. The Road That Never Ends
A member of Arlo Guthrie's group for over three years, multi-instrumentalist Gordon Titcomb starts his debut solo project with a leisurely ballad, "If It Were Up to Me," but by the second track, "Gold Plated Love," Titcomb and Co. are into high-octane bluegrass. That song is catchy with the hook "your gold plated love turned my ring finger green." The title cut is a train song that mentions the City of New Orleans, Wabash Cannonball, Midnight Flyer, and Lonesome Freight Train. It sadly was arranged without any mournful harmonies on the chorus, but the strength of this project is Titcomb's emphasis on originals that cover many musical moods from folk, bluegrass and country inspiration. Besides his own lyrical twists, he does this by incorporating a little piano and viola ("I Had a Dream"), some accordion ("The River") and his musical consciousness takes him more into folkgrass territory. Gordon also has a witty side that he captures in "Pennies a Day," a cute country song driven by the walking bass line.
Best known for his work on mandolin and pedal steel, Titcomb is also a solid guitar, dobro and banjo player. Fine examples of his picking pyrotechnics are found in the banjo breaks on "Gold Plated Love" and "Snake River." Gordon's high-octane mandolin break on "Snicker Doodle" would easily bring up prices at the pump. I was impressed with Gordon's all star musical guest list for the album: Arlo Guthrie, Mike Auldridge, Bill Keith, Mark Schatz, Frank Solivan II, Mike Munford, Jon Caroll, Stefan Custodi, Dede Wyland, Kip Martin, John Previti, John Miller and Antoine Silverman. It must've been a blast to see his large body of originals come to life in the hands of these artists. "Snicker Doodle" and "Snake River Hoedown" are instrumentals that require some nimble fingers from these masters. While not a defining voice of the time, Titcomb's baritone voice is pleasant. The strongest cuts incorporate Solivan's and Wyland's harmonies, and one nostalgic number with trio ("Take Me Back") is a yearning for eternal youthfulness that most of us can relate to. Presented in _-time, "The River" shows a deep appreciation and connection to nature and our environment.
By age 17, Gordon had left high school and was playing with Mike Williams, opening shows for the Nitty Gritty Dirt Band. Over the years, he's played with the Denver Symphony Orchestra, Patrick Sky, John Herald Band, Woodstock Mountain Review, Happy and Artie Traum, Bill Keith , Jim Rooney, Rory Block, Eric Andersen, Kinky Friedman, Barry and Holly Tashian, Jim Lauderdale, Shawn Colvin, and now Arlo.
Titcomb's also recorded in more than 2000 sessions. For the last 30 years, Titcomb's made his living recording and playing as a sideman. I'm sure that it was strange, albeit very rewarding, to show up for recording sessions and have to assume the leading role of callling the shots on what songs to record, how to arrange them, and who to feature for solos.
Based on his music, Titcomb seems like an amiable and genuine person. He's straightforward and easy to understand. That's primarily why I like his songs. Some come across as more meaningful and effective than others, but they're without gimmicks. Gordon sings and picks them with sincerity and subtlety so his tuneful stories and messages are easily remembered. (Joe Ross)
STEEP CANYON RANGERS
One Dime at a Time
Rebel REB-CD-1816
PO Box 7405, Charlottesville, VA. 22906
www.rebelrecords.com OR www.steepcanyon.com
EMAIL lisa@pressnetwork.com
Playing Time - 35:24
While only in their 20s, the bluegrass music of The Steep Canyon Rangers is that more commonly found being played by much more experienced and well-seasoned veterans. With the production assistance of Mike Bub and label support of Rebel Records, these guys are climbing the ladder to stardom quickly.
There's always room for solid, young bands with traditional chops and original material. The band members have known each other for less than a decade, and they began as a band about 1999 while students at UNC in Chapel Hill. Since their debut album, their lineup has added Californian Nicky Sanders (fiddle, vocals). A smakrt move to have a permanent fiddler in the folkd. The other band members are Woody Platt (guitar, vocals), Mike Guggino (mandolin, vocals), Graham Sharp (banjo, guitar, vocals), and Charles R. Humphrey III (bass). Now playing full-time since 2001, the band has been able to "cross-market," representing the burgeoning bluegrass genre at venues and events that might not normally include this type of music. So, in a sense, the SCRs are amabassadors of bluegrass who are bringing a younger demographic to the music.
Like their debut album on Rebel, this release has originals from Humphrey ("Ghost of Norma Jean" and "Restless Night") and Sharp ("Waiting to Hear You Call My Name," "Slow Burn," I'll Be Long Gone," "Hold On," "Big Cypoophus, "Green Eyed Lady, "Yesterday's Blues"). They're spirited and tastefully rendered in fine bluegrass style, both instrumentally and vocally. Lyrics are delivered with intensity and emotion. The picking is also immediately appealing. Why, Sharp even fingerpicks the guitar for the plaintive and bluesy "Green Eyed Lady." Recording in a circle around a couple microphones, the band was able to capture their natural blend and intensity. The technique also illustrates how cohesive the band has become.
"The Ghost of Norma Jean" is a spooky tale that continues where "Norma Jean" from their last album left off. Many of their originals speak of pain, suffering and despair, mainly from love gone wrong. And keeping with that theme, the title track (written by Dottie Bruce and Jerry Chesnut) was originally recorded by country musician Del Reeves. Maybe they ought to consider some bluegrass covers of Del's "Be Quiet Mind" or "Lookg at the World thrugh a Windshield" on a future project. Jason Carter adds the fine twin fiddling on "Evangeline." A splendid showcase of their a capella quartet, "I Can't Sit Down" was written by Wade Mainer.
The band had been thinking of doing a live album, but I'm glad to see this as a studio production. At the same time, the efficacy is built on a foundation of power and strength. I'd eventually like to see an all-gospel project from The Steep Canyon Rangers. Nominated for IBMA's Emerging Artist of the Year award, they have all the necessary ingredients to make a significant long-term mark on the bluegrass genre. (Joe Ross)
TIM O'BRIEN
Fiddler's Green
www.sugarhillrecords.com
Playing Time 47:34
Songs - Pretty Fair Maid in the Garden, Look Down That Lonesome Road, Fiddler's Green, Land's End/Chasin' Talon, Fair Flowers of the Valley, Foreign Lander, Buffalo Skinners, First Snow, Train on the Island, Long Black Veil, A Few More Years, Early Morning Rain
Over the years, multi-instrumentalist Tim O'Brien has shown the unusual knack to be equally comfortable with jazz, bluegrass, swing, and Celtic music. The eclectic acoustic musician, originally from West Virginia, is certainly not afraid to walk the line between several genres of music. Thus, he's become one of the purveyors and ambassadors of Americana music. Besides being a fine singer with a definable sound, Tim plays guitar, fiddle, bouzouki, and mandolin on this album.
The title cut is a bounding tale of the sea written by Pete Goble which speaks of a sailor being "lured by the tradewinds" to find that enchanting but mythical utopia with women, music and sustenance. When Tim wants a rousing Celtic feeling ("Land's End/Chasin' Talon), he supplements his own mandolin with the support of guys like Jack Doyle (guitar), Kenny Malone (djembe, cajon), Casey Driessen (fiddle), Dirk Powell (bass), Seamus Egan (low whistle). The bluegrass line-up ("Look Down that Lonesome Road") enlists veteran sidemen like Charlie Cushman (banjo), Jerry Douglas (resophonic guitar), Dan Tyminski (guitar), and Dennis Crouch (bass). What is particularly nice is that Tim's arrangements range from a fiddle/vocal solo ("A Few More Years") or guitar/vocal solo ("Buffalo Skinner") to full ensembles that incorporate dynamics into the genesis of their songs like "Fair Flowers of the Valley" that features Tim singing with his sister, Mollie. Another lean, but very successful, arrangement is the duo "Foreign Lander" (Tim's fiddle/vocals with Edgar Meyer playing arco bass) that presents a ballad of a rambling soldier conquered by his love's beauty.
The last third of the album (4 songs) has a good cross-section of Tim's approach. His original and high-stepping old-timey "Train on the Island" introduces Chris Thile (mandolin) and Stuart Duncan (banjo, fiddle). While the twin fiddling is spectacular, I missed hearing some vocal harmony on the refrain "train on the island, hear that whistle blow." After the lean "A Few More Years," we're treated to perhaps one of the best arrangements ever of an old favorite, "Long Black Veil." Dan Dugmore's pedal steel gives the song its unique eeriness, and the duo is sung with Darrell Scott. Tim closes the project with "Early Morning Rain," from a profound troubadour not too unlike himself, Gordon Lightfoot. The sweet notes of bouzouki, fiddle and mandolin weave their way effortlessly between the words.
O'Brien is a minstrel with great command of his lyrics and melodies. Besides being a songcarrier for traditional music, he's also a songsmith of contemporary songs that could've been written hundereds of years ago. His musical acumen demonstrates keen insight and creativity. With his astute approach of emphasizing diversity, Tim O'Brien offers a set with plenty for everyone. (Joe Ross)
TIM O'BRIEN
Cornbread Nation
Sugar Hill SUG-CD-4005
Produced by Tim O'Brien
Playing Time 49:14
Songs: Hold On, Moses, Cornbread Nation, The Foggy Foggy Dew, Let's Go Hunting, Walkin' Boss, House of the Risin' Sun, Running Out of Memory, Busted, California Blues, Boat Up The River, When This World Comes To An End
Tim O'Brien is not afraid to arrange an old traditional number like "Hold On" with electric guitar (Kenny Vaughan) and conga and shaker (Kenny Malone). He recognizes that traditional music is timeless, but he also welcomes the opportunity to incorporate modern sounds right alongside the old. While a bit lengthy, take the 6-minute rendition of "Moses," for example. Kenny Malone's drum kit imparts a solid rhythmic foundation as banjo, fiddle, guitar and four vocalists get spiritual. Tim shows a very adventurous side with the title cut that could have the same significant impact on this century's music as "Hot Corn, Cold Corn" did when Flatt & Scruggs first presented that in the last one. For folks who want to discover how to embody saxophone into traditional music, then they need look no further than Sam Levine's playing on songs like "Cornbread Nation" and "The Foggy, Foggy Dew."
That gives a clue as to why I appreciate O'Brien's releases. Besides his own zestful singing and picking, he also hears accordion, drums, percussion, electric guitar, steel guitar and other instruments right alongside the traditional string sounds of banjo, fiddle, mandolin, and bouzouki. He also branches into various genres such as Cajun with "Let's Go Huntin'," that the supporting musicians also clearly enjoyed too. The blues are best captured on this album when Tim O'Brien and Dan Tyminiski sing "House of the Risin' Sun." Well, Jimmie Rodgers' "California Blues" is full of old-time country moxie and yodeling but also some slightly distorted electric guitar with reverb and driving snare drum. On "Boat Up the River," I would've preferred hearing some banjo and less electric guitar. Bluegrassers will perk up at the original "Runnin' Out of Memory" (with Del McCoury's tenor). A slower country twang permeates the cover of Harlan Howard's "Busted." A number of the songs are only sung solo, and I heard a few opportunities where Tim could've built a few more vocal harmonies into the mixes. However, those looking for vocal harmonies will certainly enjoy the album closer, "When this World omes to an End," with electric guitar, drums, bass, and mandolin accompanying the vocals of Tim O'Brien, Odessa Settles, Todd Suttles, and Darrell Scott.
Tim O'Brien has built a reputation for being able to bring a new sense of contemporary spirit and perceptiveness to older music. With spring coming, "Cornbread Nation" is like a new bloom in the garden. Crossing into a multitude of genres (gospel, old-time, blues, bluegrass, classic country, Cajun) is part of his approach. Creative arrangements are another element. Finally, Tim also likes to hear traditional instruments alongside drums, percussion, electric guitar, saxophone and other non-traditional ones. As long as you like this type of transmutation, you'll find this CD to be very fulfilling and stimulating. (Joe Ross)
DREW EMMITT
Across the Bridge
Compass Records 7-4410-2
916 19th Avenue South, Nashville, TN 37212
EMAIL donica@compassrecords.com
TEL. 615-320-7672
http://www.compassrecords.com/ OR www.drewemmitt.com
Playing Time - 55:38
Somewhat like Tim O'Brien, mandolinist and singer Drew Emmitt has a contemporary style all his own. Unlike Tim who incorporates electric guitar, drums and percussion into his arrangements, Drew Emmitt prefers to keep his music fully acoustic. Drew is best known for his work with Leftover Salmon, a Colorado electric "jamgrass" band (actually their own genre moniker was "Cajun slamgrass") which broke up in 2004. Drew then assembled a band, The Drew Emmitt Band, which has returned to a more traditional sound. His musical compadres include some first class musicians -- Matt Flinner (banjo, mandoin, bouzouki), Greg Garrison (bass, harmony vocals), and Ross Martin (guitar). Guest artists appearing on this CD include Del McCoury, Ronnie McCoury, Sam Bush, John Cowan, Stuart Duncan, Paul Barrere and Jim Lauderdale. Barrerre (of Little Feat) sings lead vocal and plays slide guitar on his own composition, "All That You Dream."
"Across the Bridge" is actually Drew's second release, and it's largely original material. It would've been nice if the CD jacket had included lyrics. Emmitt is the sole composer of "Reach Out For Me," "Silvanite," and "Out in the Woods." The former is _-time is an offer of love, friendship and support in tough times. Over 7 minutes in length, the latter is a fluid piece that gives equal footing to instrumental improvisation and the song's message in a similar way to how Leftover Salmon performed it. Once the groove is established, each string wizard gets to strut their stuff. Three songs were written by Emmitt and Jim Lauderdale ("Up Where We Are," "The Awakening," and "This House"). Emmitt's collaboration with Ben Galloway resulted in two numbers, "All Night Ride" and "Cross That Bridge." "Big Ice" is a snappy instrumental written by Flinner. The nearly 7-minute cover of Dylan's "Meet Me in the Morning," gets a tad bit tedious and could've potentially been arranged.
Emmitt's multi-genre exploration takes us into steaming bluegrass ("All Night Ride"), engagin |