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Joe Ross' Home Page -- The Joe Ross Band (with appearance schedule)

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Earliest Joe Ross Reviews
Upated: March 10, 2007

CD REVIEWS
MURIEL ANDERSON - Harp Guitar Christmas
MURIEL ANDERSON - Wildcat
RILEY BAUGUS - Long Steel Rail
BAWN in the MASH - Welcome to the Atomic City
HUNTER BERRY – Wow Baby
LEON BIBB & ERIC BIBB - Praising Peace: A Tribute to Paul Robeson
BIG COUNTRY BLUEGRASS – On Fire
NORMAN BLAKE, NANCY BLAKE, TUT TAYLOR – Shacktown Road
STEVE BONAFEL – Feuds & Fridays!
BOULDER ACOUSTIC SOCIETY – Now
DALE ANN BRADLEY - Catch Tomorrow
DAVID BROMBERG - My Own House/You Should See the Rest of the Band
BRESSLER BROTHERS - 40 Years of Memories and Grass
BRESSLER BROTHERS - Taste of Life
JOHNNY BUSH – Kashmere Gardens Mud
SAM BUSH - Laps In Seven
CADILLAC SKY - Blind Man Walking
CASEY & CHRIS and the TWO STRINGERS - Get Along Girl
JOHNNY CASH – Ultimate Gospel
CEDAR HILL – Portrait of a Song: The Drasco Sessions
CEILIDH MINOGUE - self-titled
CELTIC WOMEN FROM SCOTLAND - Songs of Love & Reflection
JON CHRISTOPHER DAVIS - self-titled
THE CIRCUIT RIDERS - Let the Ride Begin
MICHAEL CLEVELAND - "Let 'Er Go Boys!"
THE CLIFFHANGERS - On The Edge: Traditional Old-Time Fiddle Tunes
JACK COOKE - Sittin' On Top of the World
THE JOHN COWAN BAND - New Tattoo
CROSS-EYED ROSIE - Adjusted
J.D. CROWE & THE NEW SOUTH - Lefty's Old Guitar
THE COUNTRY BOYS – Sing Bluegrass and Gospel
DAVID DAVIS AND THE WARRIOR RIVER BOYS - Troubled Times
MITSUKI DAZAI – Autumn: Music for Solo Koto
DUHKS - Migrations
EMMONS SISTERS - Possibilities
EMMONS SISTERS - Turning Point
DAVE EVANS - Pretty Green Hills
DEADWOOD REVIVAL ­ This Old World
FABULOUS BAGASSE BOYZ – Not Yer Daddy's Bluegrass
RAYMOND FAIRCHILD - Smoky Mountain Christmas
PETER FELDMANN & THE PEA PATCH QUINTET - Grey Cat on the Tennessee Farm
JOHN FLYNN - Two Wolves
FRITTS FAMILY - One More Mountain
FROM THE HEARTLAND - Lift Me A Little Higher
THE GRASS SERIES (15 CDs)
THE GRASS SERIES (15 CDs)
CLARENCE GREENE and TONYA LOWMAN featuring Jeff Sommerow - Don't Forget Me
CHRIS HENRY - Monroe Approved
DONNA HUGHES – Gaining Wisdom
INFAMOUS STRINGDUSTERS - Fork in the Road
ELANA JAMES - self-titled
RICK JAMISON – The Magic Hour
MICHAEL JOHNATHON - Evening Song
MARK JOHNSON & EMORY LESTER - Acoustic Rising
KACEY JONES - sings mickey newbury
LAST TRAIN HOME – Last Good Kiss
JIM LAUDERDALE - Bluegrass
LAURIE LEWIS & The Right Hands - The Golden West
DEBRA LYN - I Can't Remember to Forget You
MIKE MARSHALL & HAMILTON DE HOLANDA - New Words Novas Palavras
GEORGE McCLURE - Playboy Swing
THE DEL McCOURY BAND - The Promised Land
McCOY GRASS - The Best Is Yet To Come
ANAIS MITCHELL – The Brightness
MONROE CROSSING - Into The Fire
MONTANA MANDOLIN SOCIETY - Dance of the Sandhill
THE MORGANTOWN ROUNDERS - self-titled
MOUNTAIN MUSIC MACHINE - The Human Condition ...
NORTH CREGG - The Roseland Barndance
THE OLD TIME BLUEGRASS SINGERS - Threads
THE OVERALL BROTHERS - self-titled
ELLIS PAUL - Essentials
PINE MOUNTAIN RAILROAD – Alone With Forever
JOHN PRINE & MAC WISEMAN – Standard Songs for Average People
MARTY RAYBON – The Grass I Grew Up On
JAMES REAMS & WALTER HENSLEY and the BARONS OF BLUEGRASS ...
DON RENO & RED SMILEY with BILL HARRELL & THE TENNESSEE CUT-UPS - Together Again
DON RIGSBY & Midnight Call - Hillbilly Heartache
ROADSIDE CAFÉ - Grand Opening
IVAN ROSENBERG - Clawhammer and Dobro
DARRELL SCOTT - The Invisible Man
SILVERBIRCH - Out On A Limb
RICKY SKAGGS & BRUCE HORNSBY – self-titled
RICKY SKAGGS & KENTUCKY THUNDER - Instrumentals
THE SKYLIGHTERS – Self-Titled
KENNY & AMANDA SMITH BAND - Tell Someone
VALERIE SMITH & LIBERTY PIKE - Wash Away Your Troubles
SPECIAL CONSENSUS – The Trail of Aching Hearts
JOHN STARLING & CAROLINA STAR - Slidin' Home
STAY TUNED - Self-titled
LARRY STEPHENSON - Life Stories
STEVE STERN – Steam Powered Stern
JIMMY STURR - The Greatest Hits of Polka!
TRENT SUMMAR & The New Row Mob - Horseshoes & Hand Grenades
TANGLEWEED - Where You Been So Long?
THE TALLBOYS - Yeah Buddy
TODD TAYLOR - 3-FIVE-N
ANDY THORN - Bolin Creek
TIME FOR THREE - We Just Burned This For You
TOWN MOUNTAIN - Original Bluegrass and Roots Country
DRUHA TRAVA - Good Morning, Friend
TWO TONS OF STEEL – Live From Gruene Hall
ERIC UGLUM, CHRISTIAN WARD, AUSTIN WARD – The Old Road to Jerusalem
VARIOUS ARTISTS - Celebration of Life: Musicians Against Childhood Cancer
VARIOUS ARTISTS - Feel Like My Time Ain't Long: An A Cappella Gospel Collection
VARIOUS ARTISTS - Harlan County USA: Songs of the Coal Miner's Struggle
VARIOUS ARTISTS - MORE ULTIMATE PICKIN' The Best of Instrumental Bluegrass
VARIOUS ARTISTS - North To Ontario
VARIOUS ARTISTES – No. 1 Scottish: Traditional Music from the RSAMD
VARIOUS ARTISTS - The Arkansas Traveler: Music from Little House on the Prairie
VARIOUS ARTISTS - Viva! Terlingua! Nuevo! Songs of Luckenbach Texas
THE VIRGINIA RAMBLERS – self-titled
DENNIS WHITE - Elbow Room
THE WILDERS - Throw Down
WINDY CREEK - Take Me Back to the Mountains
WINDY RIDGE BLUEGRASS BAND - Old Windows
BILL YATES & FRIENDS – The Country Gentlemen "Tribute"



DVD REVIEWS
BLUEGRASS BROTHERS - LIVE IN MYRTLE BEACH (DVD)
THE OSBORNE BROTHERS – Live in Germany
OSBORNE BROTHERS – In Concert at Renfro Valley (DVD)




 
RICK JAMISON –
The Magic Hour
Circus Dog Records, No Number
920 Litchfield Ave., Sebastopol, CA 95472
EMAIL: rick.jamison@sbcglobal.net
www.rjamison.com OR www.myspace.com/rickjamison
Playing Time – 60:00
       Rick Jamison, a California - based bluegrass musician, isn't compelled to constrain his contemporary offerings to the more traditional stylings of the genre. Rather, he incorporates melodies, tempos and chordal progressions that work well with his folksy and amiable voice. It's kind of nice to hear the II, VII and various minor chords along with the I, IV, and V that more typically characterize bluegrass. The senior writer and editor with a Silicon Valley software company also knows how to work the lyrics in a song to convey emotional messages and feelings. Jamison has taken to releasing an album per year for the last three years, and the reason that he's been so prolific in recent times may be best captured in his sentiments of "Time Marches On." He's obviously seizing the moment to plug his material, and I can relate to Rick's expressive verse that "Once this day is done it's gone forever, to join a thousand years of yesterdays, memories are the keepsakes and the treasures." In much the same way, the hour's worth of originals on "The Magic Hour" is a musical token and gift to us.
       While some songs have more appeal than others, a true bluegrass fan can't bemoan his title cut that exclaims "The music makes us smile and clap our hands, In the company of other bluegrass fans, The music carries all of us away, In the magic hour that ends a perfect day." In a more serious and emotive vein, Jamison's love songs ("The Best In Me" and "Time For Goodbye") may actually convey the best of the songcrafting within the artist who also happens to be a painter. The latter song , sung by Erik Thomas as a duet with Megan Lynch, asks the inevitable questions "Is it time to start all over? Is it time to say goodbye?" The musical tone painter also has a witty side as his "Bugged & Bothered" speaks to various insect infestations (ants in my pantry, bedbugs in the bed, a moth that ate my sweater, and gnats around my head) that lead to infatuation for another. A more traditional bluegrass band might want to consider covering songs like "A Bank Too Far" and "Not Tonight" that keeps the lyrics straight - forward, honest and conversational.
       Rick Jamison plays guitar and sings most lead vocals. He's assembled a crackerjack lineup of collaborators with California connections who include Dave Richardson (banjo), Erik Thomas (mandolin), Megan Lynch (fiddle), Rob Ickes (Dobro), and Cindy Browne (bass). All but Ickes and Brown provide vocals. The stellar musicians best display their chops in the instrumental "Crunch Time." Dave Richardson spent five years playing with the Don Ho Show in Hawaii in the late - 1970s before moving to Monrovia, Ca. and getting established with the California bluegrass scene with the band, Bluegrass West. Erik Thomas, a founding member of the group Due West, has played with an eclectic bunch including Mickey Gilley, Elvin Bishop, David Grisman, Rob Ickes and Tony Trischka. Also a member of Due West, eclectic acoustic bassist Cindy Browne is well - grounded in jazz, classical and ethnic folk music, but she holds a Masters Degree in Music and easily adapted to bluegrass. She currently teaches music at Las Positas College in Livermore, Ca. Raised in Redding, Ca., Megan Lynch has won many national and state fiddle contests. Now based in Nashville, her personalized fiddling can be heard with 3 Fox Drive, Blue Moon Rising, Chris Jones, Chris Stuart, Copper Canyon and others. From Millbrae, Ca., Rob Ickes now lives in Nashville also. The multi - year IBMA Dobro Player of the Year has toured with Tony Furtado, Todd Phillips, Weary Hearts, Lynn Morris Band, Alison Krauss, Blue Highway, Three Ring Circle and others.
       Because one objective of "The Magic Hour" is to help plug Jamison's songs, it's helpful that the lyrics and chords for all but the closer "Cedars and the Pines" are on - line at www.rjamison.com. While Rick has two other albums out (with his band Copper Canyon), this solo debut is my first introduction to his singing, playing and songcrafting. Now I feel a little more familiar and acquainted with the man. If you like your bluegrass with some folk flavorings, you'll also enjoy the musical encounter as Rick tells tales, expresses emotions, and perhaps most importantly paints pictures with his lyrics and melodies. His songs are every bit as vivid and impressionistic as Jamison's oil on canvas (Where the Mountains Meet the Sky) that graces the inside of the CD jacket. (Joe Ross)



 
SPECIAL CONSENSUS –
The Trail of Aching Hearts
Pinecastle PRC-1156
PO Box 753, Columbus, NC 28722
www.pinecastle.com
EMAIL info@pinecastle.com
Playing Time 35:58
       By the time a band has made 13 albums over a span of 32 years in existence, they have a pretty darn good feel for what their sound and recipe for success are. They know what works and doesn't. Special Consensus' first ingredient is driving banjo - centric material that allows them to demonstrate their flexibility, creativity and eclecticism with three lead vocalists and solid instrumental prowess. From Chicago, 5 - string picker Greg Cahill formed the band back in 1975. Highly respected by his bluegrass peers, Cahill has another hat to wear since 2006 as IBMA's President and Board Chairman. Ron Spears joined up in 2004. In more recent times, experts like guitarist Justin Carbone (originally from New Jersey) continue to reinvigorate the Special Consensus sound. Justin's involvement in their "Everything's Alright" album project helped propel that effort to a Top Ten placing in Bluegrass Now's best of 2004 list. This album also features a couple songs from the repertoire of his previous group called The 2nd Edition.
       Special Consensus' recent successful albums have songs from mandolinist Ron Spears ("I'd Like To Wander back To The Old Home" and "Lift Your Voice in Prayer"), as well as a Celtic - flavored piece ("Josie's Reel"), original instrumental ("Burns Breakdown"), something from the traditional bluegrass canon (Roy Acuff's "Branded Wherever" that was recorded by Flatt & Scruggs), and compositions from contemporary tunesmiths ("Ten Mile Tennessee" and "Rich Man's Coal" and "The Road To You").
       Special Consensus also looks for repertoire from other genres that can be ‘grassed up. Take "Down The Trail of Aching Hearts," for example, from Hank Snow's classic country volume. A song that was sung by Marty Robbins, "The Shoe Goes On the Other Foot Tonight," serves as their new regular bass player David Thomas' recording debut as a lead vocalist. A band member since 2006, Thomas hails from Alabama. Or another unique highlight is what has become a signature tune for Special Consensus - - Irving Berlin's classic jazz standard, "Blue Skies." Last but certainly not least, the band's award - winning formula incorporates some key guests to embellish their sound in places. These hired hands include stellar Arkansas fiddler Tim Crouch, talented Dobro - players Rob Ickes and Phil Leadbetter (one cut apiece), and skilled bassists Tres Nugent and Tim Dishman. It's Dishman who get the nod to take a grooving bass break in "Blue Skies." Nugent had been a regular band member but moved back to his Louisiana home to spend more time with family.
       The band has a well - established track record of getting songs into the bluegrass and gospel charts, and their albums are among the genre's top recordings. I expect this release to garner just as much notoriety and fame. In a nutshell, it is their aptitude and diversity that make them very appealing to a broad population base. Cahill's Irish ancestry and their regular tours to the U.K and Ireland have also won them a legion of fans across the pond. (Joe Ross)



 
BILL YATES & FRIENDS –
The Country Gentlemen "Tribute"
Mastershield, 021
6683 Vista Heights Road, Bridgewater, VA 22812
EMAIL: vrodes@shentel.net
www.mastershieldrecords.com
Playing Time – 35:02
       SONGS - Redwood Hill, The Secret of the Waterfall, Remembrance of You, East Virginia Blues, Son of Hickory Holler's Tramp, I'll Break Out Again Tonight, Little Bessie, The Young Fisherwoman, Walking Down The Line, Heaven, Two Little Boys, Blue Ridge Mountains Turning Green.



 
THE COUNTRY BOYS –
Sing Bluegrass and Gospel
Hay Holler HH - CD-1374
P.O. Box 868 · Blacksburg, VA 24063
Telephone (540) 552-7959
EMAIL: Hayholler@adelphia.com
Playing Time – 44:33
       SONGS - Redwood Hill, A Place Prepared For Me, I Shall Be At Home With Jesus, Memory Of You, Little Bessie, I Will Trade The Old Cross For A Crown, Bringing Mary Home, One Kiss Away From Loneliness, Lord Don't Leave Me Here, I'll Talk It All Over With Him , Come And Sit By The River, April's Green, Some Day, When I've Traveled My Last Mile, Walking Down The Line
       It's interesting that two recent bluegrass releases, Bill Yates' "Country Gentlemen Tribute" (on the Mastershield label) and The Country Boys' "Sing Bluegrass and Gospel" (on the Hay Holler label), both cover the same three songs on their respective albums. The songs in common are Redwood Hill, Little Bessie, and Walking Down The Line. Both albums actually chose "Redwood Hill" (written by Gordon Lightfoot) as their set opener. This reinforces the great impact that the seminal material of The Country Gentlemen has had on many subsequent bluegrass units. Perhaps it's because the songs are nostalgically soothing and fit the bluegrass repertoire like a pair of old shoes. Bill Yates was directly involved with the late Charlie Waller for 18 plus years, and his entire album is a tribute to capture and recreate the former band's sound. The Country Boys, on the other hand, are a North Carolina traditional group with over three decades of experience that simply loves the Country Gentlemen's repertoire (they also cover "Bringing Mary Home" and "Come and Sit by the River") while also incorporating a healthy share of bluegrass gospel. As a result, the common ground in both projects is the expression of honor, praise and respect in more ways than one.
       Bill Yates spent many years playing bass for The Country Gentlemen, but on this tribute album he only sings (lead and harmony). The bass playing is left to Dave MacGlashan. To recreate the historic sound, the SPBGMA Preservation Hall of Greats member assembled some other excellent musicians too Mike Phipps (lead and harmony vocals), Darren Beachley (guitar, lead and harmony vocals), Dave Propst (mandolin, lead and harmony vocals), Kevin Mallow (fiddle), Scott Walker (banjo), and Mark Clifton (resophonic guitar). These guys are well - known on the eastern seaboard as members of such fine groups as Doyle Lawson & Quicksilver, The Shenandoah Blue Band, and Jay Armsworthy & Eastern Tradition. With four lead and harmony vocalists on the album, it certainly would have been nice if liner notes had indicated who is singing what. However, it is apparently Mike Phipps who provides the stellar vocalizing reminiscent of Charlie Waller's. Mastershield Records confirmed that it is Mike Phipps singing most of the lead on the project. Yates and Friends succeed in depicting both sound and psyche of the pioneering Country Gentlemen. While some may argue that it's the original releases that were most pivotal to the genre, it's also beneficial to revisit that same material with a new updated cast of musicians using contemporary recording technology to recreate a sound from decades before. Another volume is hopefully in the works for future release.
       The Country Boys may be best known as a regional band in their neck of the woods, but they display a solid foundation that capitalizes on their collective strengths. Their tempos are a tad more relaxed than Bill Yates', and their presentation is more methodical. Also in comparison, The Country Boys have more flavoring of old - time mountain rusticity, primarily a function of their vocals and J. A Midkiff's fiddling. The "Sing Bluegrass and Gospel" album also features a number of lead singers – guitarist Johnny Joyce in that primary role for six numbers including most of the Country Gentlemen covers. Bassist Don Clifton also sings lead on six songs, mostly gospel. For some pleasant variety, it's a welcome treat to hear mandolinist Kevin Easter on "I Will Trade the Old Cross for a Crown," and banjo - player Tim Bowman sings lead with a copious amount of enthusiasm and energy on both fast and slow songs, "I'll Talk It All Over With Him" and "April's Green." The Country Boys clearly have a lot of entertainment value, and they seem very content to thrill audiences with music and ministry at fiddlers conventions, festivals, churches, private parties and front porches. While not planned as a commercial venture, The Country Boys' album is one that will bring much pleasure and joy as we simply appreciate their genuine, sincere and comforting approach to bluegrass and gospel. While neither The Country Boys nor Bill Yates seem to be striving for great commercial success with their albums, it's certainly heart - warming and reassuring to know that there are bluegrass groups like them. (Joe Ross)



 
THE VIRGINIA RAMBLERS –
self-titled
Hay Holler HH - CD-1375
P.O. Box 868 · Blacksburg, VA 24063
Telephone (540) 552-7959
EMAIL: Hayholler@adelphia.com
Playing Time – 42:53
       The Virginia Ramblers have been "Movin' On" with their bluegrass for many decades, especially since three of them (guitarist/singer Charles Frazier, bassist Donnie Shifflett, mandolinist Jeff Vogelgesang) performed as part of Alvin Breeden and The Virginia Cutups. Frazier spent 27 years in that band; Shifflett 14; Vogelgesang 13. When banjo - player Breeden retired, the trio became the Virginia Ramblers, and Zack Deming was added shortly thereafter into the mix. A Michigan native, Deming had moved to California where he played banjo and built Santa Cruz guitars. About 2003, he relocated to Virginia build Stelling banjos and was soon picking his own traditional Scruggs - based five - string style with King Wilkie. Rounding out the set on this self - titled project, guest Jim Skelding brings some very solid bow work on his fiddle although he isn't heard on every cut.
       A robust set from the Virginia Ramblers includes strong original material (Wind in the Pines, Pleasant Hill, Sabryn Renee, Daddy's Grave), traditional classics (Hey Hey Hey, Let's Part the Best of Friends) and driving instrumentals (Movin' On, Spanish Two - Step). Charles, Jeff and Donnie have an auspicious trio that yields bountiful rewards. Carefully cultivated into various vocal arrangements, their most evocative moments occur in songs like "O Lord" and "First Fall of Snow" where Charles' high lead is matched with the low tenor and baritone of the other two. It's also a joy when Charles sings a loving tribute to his grand - daughter "Sabryn Renee" or a solo vocal patriotic rendition of "God, Please Protect America." Their original murder ballad, "Wind in the Pines," that closes the album seems to lose some feeling of the storyline by simply being presented at too fast a tempo. In other words, some deeper emotion could have been drawn out of the poignant tale by slowing down the arrangement.
       The Virginia Ramblers' radiant yet rustic approach to traditional bluegrass makes their music very accessible. Their repertoire is clearly an affable mix of crowd - pleasing songs that have found them festival bookings from Virginia to California. With roots that run deep, their compelling music provides assurance that traditionally stylized bluegrass with its conventional sideboards can also tap an inspiring amount of creativity and bracing perspectives too. (Joe Ross)



 
BIG COUNTRY BLUEGRASS –
On Fire
Hay Holler HH - CD-1378
P.O. Box 868 · Blacksburg, VA 24063
Telephone (540) 552-7959
EMAIL: Hayholler@adelphia.com
http://www.bigcountrybluegrass.com/
Playing Time – 37:37
       SONGS - Cold Rain, Down In Caroline, Hicker Nut Ridge, Memories, I Am Ready, On Fire, Mother's Prayers Were Not In Vain, Bringing In The Georgia Mail, The Rose Will Bloom Again, When I Receive My Crown, Let Her Go, God Bless Her, Old Old House, Tallahassee, Plant Some Flowers By My Grave
       Two years have past since Big Country Bluegrass released "Waiting at the Homeplace" (Hay Holler HH - CD - 1368), and I must admit to being very pleased with their 2006 release (their ninth overall I believe) entitled "On Fire" that features a number of new personnel in their lineup. Originally formed in the late - 1980s, the band is still anchored by Tommy Sells (mandolin), Teresa Sells (guitar, vocals), Billy Hawks (fiddle, vocals), and Alan Mastin (bass). The six - piece Big Country Bluegrass now also includes Jeff Michael (guitar, fiddle, vocals) and Ramona Michael (banjo, vocals). Back in the 1990s, Jeff had played fiddle for nearly five years with the band. Jeff and Ramona impart lively spirit and vigor to the music that has always been formidable. Creating a traditional Virginia and North Carolina mountain sound that is honest and direct, Big Country Bluegrass stresses good rhythm, tone and timing. While their instrumental work is tasty, it is really their heartfelt vocals that stand out to put them a notch above the rest. When Jeff's strong lead vocals are paired with Ramona's and Teresa's harmonies we are given a sparkling trio that is brilliantly expressive. I like the sound of a stellar male lead vocalist with two female harmonies above. Thus, songs like Cold Rain, Down in Caroline, Memories, Bringing in the Georgia Mail, and Let Her Go God Bless Her are the defining moments on this project. We're also treated to the band's quartet when Billy Hawks' bass is heard on Jeff's two original gospel numbers, "I Am Ready" and "When I Receive My Crown." There are other fine arrangements too. Jeff's solo renditions of "Old Old House" and "Mother's Prayers Were Not in Vain" are very alluring, as is Jeff and Ramona's duet in "Plant Some Flowers By My Grave." The band's two instrumentals in the set (On Fire, Tallahassee) shake things up even more with their veritable bluegrass sound.
       While the band primarily plays in the southeastern U.S., Big Country Bluegrass is deserving of a much wider hearing. Besides powerful original material, they tap into the songs of Charlie Monroe, Aubrey Holt, Louvin Brothers, Bill Monroe, George Jones, William York, Ron Sweet and others. The song, "Mother's Prayers Were Not in Vain," is pure music from the true vine and homeplace. The song's composer, Estil Ball, lived only about 30 miles from Galax, and the wonderful fingerpicking guitarist and his wife Orna were recorded by Alan Lomax as early as 1941. Estil passed away in 1978, but bands like Big Country Bluegrass know about their music's roots. As I've said before, Big Country Bluegrass is as big as life itself. Their music is straight - up - and - down, and that's a very good thing for our considerable listening pleasure. (Joe Ross)



 
PINE MOUNTAIN RAILROAD –
Alone With Forever
Steeltown Records 0127
PO BOX 9627, Knoxville, TN. 37920
EMAIL PineMountainRailroad@comcast.net OR McBeeMarketingSolutions@comcast.net
TEL. 865-771-2173
Playing Time – 35:28
       During their nine years in existence, Pine Mountain Railroad has released seven albums. And what's very gratifying is that each one has its own distinctive allure, charisma and personality. While the band has had personnel changes over the years, they consistently produce professional contemporary bluegrass that has won them considerable recognition from the International Bluegrass Music Association, California Bluegrass Association, and others who know what elements are needed to produce quality music. The latest new direction for the band is to become a six - piece unit with Cody Shuler (mandolin), Bill McBee (bass), Matt Flake (fiddle), Mark Cable (guitar), Eli Johnston (guitar), and Elmer Burchett (banjo). All band members contribute vocals, and they also continue to emphasize sturdy original material. Besides the one - minute theme from their sponsor (Odom's Tennesse Pride), their only covers on this project are Wilma Jo Tomblin's "Two Shoes," James Shuler's "Heaven's Greeting," and one of my favorites (that always reminds me of Jim & Jesse) – Hod Pharis' "I Heard the Bluebirds Sing" sung here with spirit as a trio and shared breaks built around the chorus.
       The original songs on "Alone With Forever," presented in a warm, conversational manner, recall sweetly wistful remembrances and nostalgically - tinged memories. Their musical moods are varied, largely as a result of having four gifted lead vocalists. The mournfully sweet vocalizing in "Awful Lonesome Train" is a personal preference. Pine Mountain Railroad tastefully renders moderately tempo'ed pieces that are unpretentious. They earn accolades for their arrangements that enhance rather than overpower. It's radio - friendly material for bluegrass programs with an acoustic country bent. It would be striking to hear these consummate pickers and singers occasionally turn up the throttle to inject their music with even more energy and really shake things up. Perhaps some of that could have been remedied by including a hard - driving instrumental in the set. (Joe Ross)



 
DONNA HUGHES –
Gaining Wisdom
Rounder 11661-0554-2
EMAIL lcalista@rounder.com OR bsanmartin@rounder.com
www.DonnaHughes.com OR www.MySpace.com/DonnaHughes
Playing Time – 43:36
       SONGS – 1. One More Time, 2. What I'm Looking For, 3. Father Time, 4. Time After Time, 5. Scattered To The Wind, 6. Not Anymore, 7. Sad Old Train, 8. Find Me Out On A Mountain Top, 9. Bottom Of A Glass, 10. Letters, 11. Too Many, 12. Hold On, 13. Where Are You Darlin'?, 14. Talking To The Wind
       Heralded as one of the best new singer - songwriters in bluegrass, Donna Hughes' debut on the reputable Rounder Records label is a significant career milestone for the creative and talented young woman from central North Carolina. When I first heard her independently released albums years ago, I knew she was inspired, motivated, and headed for great success. She just needed the right amount of luck. Enter guitarist Tony Rice who also heard "something that was down to earth, with a definitive southern flavor to it….that implied a broader, more adventurous approach." This album, produced by Rice, includes four new arrangements of original songs that Hughes previously released on her own "Same Old Me" project. Eight additional originals are on this "Gaining Wisdom" album, along with two covers ("Time After Time" and "Find Me Out On A Mountain Top").
       As I've said before, Donna's songs have potential to become contemporary bluegrass, acoustic country or folk hits. Classically trained on piano, Hughes also has a strong affinity for bluegrass music. She has performed with regional bands, Wildwood and Different Directions. Her adorned and relaxed presentation is incorporated with the modern instrumental consciousness of such stellar acoustic technicians as Tony Rice, Tim Stafford, Rob Ickes, Mike Bub, Sam Bush, Ron Stewart, Wyatt Rice, Bryn Davies, Rickie Simpkins, Wayne Benson, Scott Vestal, Kati Penn, and Obil Perez. To accompany her dreamy singing, we hear harmonies from Carl Jackson, Alecia Nugent, Sonya Isaacs, Mary Chapin Carpenter, John Carroll, Kati Penn, Rhonda Vincent, and Lona Heins. This is a very impressive cast that infuses her music with a great deal of enchantment. Hughes writes and sings moving and sensitive personal songs with a relaxed, refreshing, contemporary flair. Introspective themes of lost love, sorrow, longing, heartache, and optimism are covered.
       In her song, "Letters," Donna admits to having a lot to say in correspondence with her grandmother, and it becomes apparent that dreams and aspirations are in the Hughes' family. "Where Are You Darlin'?" is a tale of anguish in which she sings, "Along with all my dreams/I can't go on, I can't go back." And the song "Too Many" expresses "I just can't love you anymore." Four of the tracks provide nice showcases for her piano playing, with the lean arrangement of "Talking to the Wind" being a particularly unique and lyrical way to end this euphonious album with a nod to her own Native American ancestry. (Joe Ross)



 
RICKY SKAGGS & BRUCE HORNSBY –
self-titled
Legacy 88697-06686-2
www.legacyrecordings.com
LegacyMediaRelations@sonymusic.com
Playing Time – 48:56
       Sparks are bound to fly when two Grammy Award winners get together for a musical collaboration. Pianist Hornsby and multi - instrumentalist Skaggs build an interpretive bridge into adventurous Americana territory. First, there are the diverse roots and influences that each brings to the table. Second, there is the strong original material that each contributes. Finally, there is the instrumental cohesiveness of Skaggs' regular Kentucky Thunder band members. Sung by Skaggs or Hornsby, the songs don't necessarily strive for arrangements that emphasize vocal harmony. Rather, they tend to impart rhythmic intensity and the unique instrumental flair of various genres. This is largely the result of the musical union of piano (and even some minimal organ) with the likes of banjo, mandolin, accordion, fiddle, guitar, bass, jaw harp, resonator guitar, drums and more. It's a fascinating mixture that conveys energy, velocity and excitement. If one questions the appropriateness of piano breaks in hoedown music, then you need to hear "Sheep Shell Corn" to prove that it can be successfully done. Hornsby has a best - selling 4 - CD product out called "Intersections," and Hornsby and Skaggs have taped a "Crossroads" show for Country Music Television (CMT). So, in a sense this album reinforces their enthusiastic intent to provide strong cutting edge music that fuses pop and bluegrass in a place where different genres meet amiably.
       Hornsby's reinvented hit "Mandolin Rain" makes reference to the bluegrass band that "takes the chill from the air ‘til they play the last song," but the song is light years from your daddy Bill Monroe's bluegrass. Ricky Skaggs' instrumental "Stubb" offers spicy Cajun flavoring. The CD jacket includes lyrics for all of the songs. With "The Dreaded Spoon," who would've thought an entire song could be written from a kid's perspective about having to share his ice cream and cookies with the old man? The references to the "flash of a knife" and "jumpsuit of pain" in Hornsby's melodic "Crown of Jewels" indicates that he's telling a story of murder, deceit and downfall. The storyteller's "A Night on the Town" is a ballad that sets the stage for a showdown between some country and city boys that also leaves a scar. Skaggs' major contributions come in the way of arrangements for "Across the Rocky Mountain" and "Hills of Mexico." While both are seminal, this album is an interesting dichotomy to the old - time brother duet country music that Ricky Skaggs and Tony Rice put out in 1980. Various forks in the road over the course of three decades can lead musicians in many directions.
       Sonic alchemy such as this calls for cross - fertilization and transmutation between genres. Under the right circumstances, alchemy can also yield gold. Besides a few traditional offerings, the set also includes some interesting material from Gordon Kennedy/Phil Madeira and James Johnson/Alonzo Miller. From the former, "Come on Out" is a call to take control of your own fate by reaching for the sky, and the arrangement features Kennedy's resonator guitars. From the latter pair of songwriters, "Super Freak" (originally sung by Rick James) is certainly a wild and kinky way to close the album with a tale about a special kind of band groupie who likes incense, wine and candles. John Anderson's ad-lib vocals lay right in alongside Hornsby and Skagg's. Overall, the collaboration of Skaggs and Hornsby is a memorable one that is full of musical individualism, provocation and moxie. (Joe Ross)



 
VARIOUS ARTISTS -
MORE ULTIMATE PICKIN' The Best of Instrumental Bluegrass
Pinecastle PRC-1160
PO Box 753, Columbus, NC 28722
www.pinecastle.com
EMAIL info@pinecastle.com
Playing Time 64:27
       SONGS - Pretty Little Indian, Little Darlin' Pal of Mine, Whiskey Before Breakfast, Last Night's Fun, Big Sandy River, Boys of Blue Hill, Daley's Reel, When Johnny Comes Marching Home, Woodchopper's Reel, Temperance Reel, Closer Walk With Thee, Cattle in the Cane, Katy Hill, John Henry, Stoney Point, The Waltz You Saved for Me, Goodbye Liza Jane, Fire on the Mountain, Little Beggar Man (Red Haired Boy), Amazing Grace
       For a solid hour's worth of instrumental bluegrass, Pinecastle Records' second volume in their "Ultimate Pickin" series is sure to please. Their first 20 - track compilation from previously released albums was put out in 2005. Now, "More Ultimate Pickin'" samples additional cuts from instrumental projects that hit the streets between 1995 - 2001, along with vocal - less cuts from three other releases associated with the label (from Kristin Scott Benson, Phil Leadbetter, and Bobby Osborne/Jesse McReynolds). There's a nice variety of slow and fast pieces, all with the standard bluegrass instrumentation of fiddle, banjo, mandolin, guitar, resophonic guitar, and bass. Don't worry about there being anything out of the ordinary…just relax and enjoy the crisp tone, quick - paced romps, Celtic flavorings, and spiritually - tinged offerings. In total, twenty - six different musicians contribute their proficient licks, but those who appear most prominently are Aubrey Haynie (fiddle), Scott Vestal (banjo), Jeff Autry (guitar), Wayne Benson (mandolin), Barry Bales (bass), Clay Jones (guitar), Rob Ickes (resophonic guitar), Rickie Simpkins (fiddle), and Adam Steffey (mandolin).
       Between 1995 - 2001, there were seven annual albums released of instrumental bluegrass. Interestingly, six of the 20 cuts on "More Ultimate Pickin'" were drawn from the original "Bluegrass ‘95" release that was originally recorded and intended to be a solo project for guitarist Clay Jones. When Jones went to work in a non - music field, the project was almost shelved until banjo - player Scott Vestal convinced the label executives to go ahead and put it out for the original collaborators to sell at their shows. That CD, and the other six in the entire series, are gifts of gorgeous instrumental moods. "Ultimate Pickin" and now "More Ultimate Pickin'" are both recommended as the albums of choice to sample 40 total tracks from Pinecastle's instrumental archival library. (Joe Ross)



 
BOULDER ACOUSTIC SOCIETY –
Now
www.boulderacousticsociety.net
EMAIL boulderacousticsociety@yahoo.com
Playing Time – 25:16
       Formed in 2003, Boulder Acoustic Society's sound has been evolving for four years, but they continue to focus on one goal – keep their audiences smiling with music that touches and energizes them. The band's seed was first planted when Kailin Young (fiddle) and Brad Jones (guitar) got together to jam on street corners in Boulder, Co. Within a few months, Aaron Keim (bass, ukelele, steel guitar) was in the band. By early 2004, Scott McCormick (accordion) was invited to develop the band into a "neo - acoustic" quartet with plenty of roots music sensibilities. Boulder Acoustic Society (or just "BAS" as they're affectionately known) have released two albums prior to "Now." They tour far and wide and even took second place at the 2006 Telluride Bluegrass Festival Band Contest.
       At only 25 minutes, "Now" is a tad short, but it's still a nice showcase of their musical diversity. A classic jazz standard like "Lullaby of Birdland" sits comfortably into a repertoire that also includes the likes of Latin (Tico Tico), original (Daddy's Got A Jake Leg, Hatchback Blues), and traditional (Gospel Plow, My Bucket's Got A Hole In It). Originally written by Maori composer Maewa Kaihau about 1920, "Now is the Hour" became more than just a New Zealand folk song when Bing Crosby recorded it in 1947. "Tico Tico" is arranged for two ukeleles and fiddle. "Does it Really Matter" is a pleasant instrumental offering that also includes Greg Schochet's mandolin. The four primary band members share lead vocalist duties, but it is Aaron Keim who does the majority of lead singing. If there's one disappointment, it's the scarcity of harmony vocals until the closer, "My Bucket's Got A Hole in It," that has a party - like atmosphere with the quartet embellished by Greg Schochet (banjo mandolin), Ryan Drickey (fiddle), Scott Higgins (washboard), Brett Billings (harmonica), and Ellen Yong and Rhonda Smith (vocals).
       I enjoyed hearing the versatile ukelele used prominently in string band music of this rootsy type. The positive instrumental mix imparts a sense of luster and charm. Whether playing jazz, swing, blues, ragtime, jug band or original music, the Boulder Acoustic Society simply illustrates a healthy respect and fondness for it all. Boundaries imposed by the various genres don't constrain them. String chameleons have broad - based musical interests, and I sense that their prime directive is to present an eclectic set that entertains. BAS' diversity is the glue that binds their identity together. I wouldn't say they're particularly twisted, but they do like new interpretive twists. As a result, their young fans in the audience are tuning in and making connections with the impressionable music that is largely from another bygone era. (Joe Ross)



 
BLUEGRASS BROTHERS -
LIVE IN MYRTLE BEACH (DVD)
Hay Holler HH - CD-1375
P.O. Box 868 · Blacksburg, VA 24063
Telephone (540) 552-7959
EMAIL: Hayholler@adelphia.com OR hayholler@verizon.net
       SONGS - Train 45, Six Hours On The Cross, Country Boy's Going To Move On, Wait A Minute, Duelling Banjos, Country Poor And Country Proud, Rawhide, I Know You Rider, Tennessee, Doin' My Time, I've Got My Future On Ice, He Will Set Your Fields On Fire, Lost To A Stranger, Grandfather's Timepiece, I'm Working On A Building, I'm Gonna Go Home, Momma's Gonna Pray , Hickory Wind , Ruby, Heaven
       The first things we notice about The Bluegrass Brothers are the energy, passion and seriousness with which they play bluegrass. This DVD was recorded on their first visit to the 2005 South Carolina State Bluegrass Festival in Myrtle Beach. The event was promoted by Norman Adams, and the audio for this DVD was taken directly off the sound board engineered by Gene Daniels. The Virginia - based family band includes brothers Robert (banjo) and Victor Dowdy (bass), Victor's sons Steve (guitar) and Donald (guitar), and Brandon Farley (mandolin). The band formed in 1992, Steve joined in 1998, and Donald and Brandon are recent additions since 2005. At the time, Donald was only 18, and Brandon was 19. Apparently, Brandon also fiddles, but that isn't included as he'd broken a string on his instrument that weekend. While Victor handles most lead vocals, all members but Farley contribute to the singing. Occasionally, on some choruses, Victor jumps up to tenor harmony while Steve sings lead. Alternating between fast and slow songs, the band organizes their entertaining sets to emphasize their varied repertoire. The band works around three mics, and their breaks primarily feature proficient banjo and mandolin, but solid guitar and bass breaks also occur periodically.
       Some of this well - rehearsed band's primary influences include Jimmy Martin, Seldom Scene, Country Gentlemen, Osborne Brothers, Randall Hylton, and others. While they seemed a little stiff and nervous at the beginning of the DVD, they start to relax and smile a bit by the time "Dueling Banjos" rolls around. Later in the program, on "Grandfather's Timepiece," the antics of Victor and Steve trading bass and guitar to take bass breaks is a novelty. Written by Randall Hylton, "Country Poor and Country Proud" is a crowd - pleaser, as are some of their uptempo and gospel offerings too. The band specially worked up Gram Parsons' "Hickory Wind" as a tribute to the tall pines, oak trees, and friendly festival crowd they encountered in South Carolina. "I'm Gonna Go Home," written by Victor, is presented a cappella to showcase The Bluegrass Brothers' gospel quartet. Donald steps up to the mic to sing "Lost to a Stranger." After the closing numbers (Rawhide, Ruby) in both sets, they received encores and played "I Know You, Rider" and "Heaven," respectively. Victor's emcee work is minimal but comes across as warm, personable and conversational. The camera work of Brance Gillihan and David Wells is good with both close - ups and distance shots of the band that dresses in ties, blue jeans and Stetson hats. The DVD's menu includes the concert, song - by - song selection, and a short 4 - minute visit with the band (accompanied by "Wait A Minute") at their record table following the show….the place where they're most carefree, comfortable and smiling after they've won over the South Carolina crowd with their engaging and entertaining bluegrass. (Joe Ross)



 
OSBORNE BROTHERS –
In Concert at Renfro Valley (DVD)
Pinecastle PRC-0107 DVD
PO Box 753, Columbus, NC 28722
www.pinecastle.com
EMAIL info@pinecastle.com
       SONGS - 1 The Fastest Grass Alive, 2 Doin' My Time, 3 Me and My Old Banjo, 4 Medley: My Favorite Memory / You Win Again / Today I Started Lovin' You Again, 5 Foggy Mountain Rock, 6 Kentucky, 7 Rocky Top, 8 One Tear, 9 Bluegrass Melodies
       The Renfro Valley Barn Dance has a long, exciting history of nearly 70 years. After radio broadcasts from Ohio in 1937 - 38 over station WLW, the show took up permanent residence in late - 1939 in the big barn in Renfro Valley, Kentucky. It was ten years later (1949) that Kentuckian Bobby Osborne began his long - tenured career in music with The Lonesome Pine Fiddlers. Sonny Osborne joined the group a year later (1950) at age thirteen. When The Osborne Brothers were recorded at the Renfro Valley Barn Dance on August 6, 1992, they had already been members of the Grand Ole Opry for nearly three decades and "Rocky Top" had been the designated state song of Tennessee for almost ten years.
       While this concert was previously released on video in 1997, it is now available from Pinecastle Records on DVD. Besides Sonny (banjo, gitcho, vocals) and Bobby (mandolin, vocals), the rest of the band was the late Gene Wooten (Dobro), Terry Eldredge (guitar, vocals), David Crow (fiddle), and Terry Smith (bass). From North Carolina, Wooten would have just joined the Osborne Bros. in 1992, and they were clearly enjoying his presence with them on stage. Wooten went on to win SPBGMA's Dobro Player of the Year in 1994. An 18 - year - old David Crow, a Florida State Fiddle and Mandolin Champion, would have also just joined up with the Osbornes in 1992. He had moved to Nashville to attend Vanderbilt University a year before this concert was recorded. From Indiana, Terry Eldredge had previously played with Lonzo & Oscar, and he was appearing on the Grand Ole Opry before he was even old enough to vote. Terry's tenure with The Osborne Brothers spanned the period from 1988 - 2000. He'd began with them as their bass player but switched to guitar when Terry Smith joined up.
       The professional camera work was done by WKYT out of Lexington, Ky. After opening with a couple up - tempo numbers (Paul Craft's "Fastest Grass Alive" and Jimmy Skinner "Doin' My Time"), the band settles into their musical groove characterized by sincerity, realism and showmanship. Sonny's own "Me and My Old Banjo" is a crowd - pleaser, and Buck Graves' "Foggy Mountain Rock" allows for plenty of hot licks from all the band members, including a bass break by Smith. At the midpoint, the country medley of "My Favorite Memory," "You Win Again," and "Today I Started Lovin' You Again" seemed to drag a tad, but I'm sure that they felt those numbers were right at the time as they worked the mostly older audience. Of course, "Kentucky" and "Rocky Top" were played with the former eliciting many of the crowd to stand up in pleasure and appreciation. Terry Eldredge (now with The Grascals) sang lead on Judy Osborne's "One Tear," and the band's closing number is Darrell Sadler's "Bluegrass Melodies."
       As musical ambassadors from Kentucky, The Osbornes were right on that evening and playing to a hometown crowd. While a little short, this concert is a rare treat from the annals of bluegrass and country music history. It provides clear video documentation as to why The Osborne Brothers were 1994 inductees into IBMA's Hall of Honor, only about two years after this show was recorded. (Joe Ross)



 
THE OSBORNE BROTHERS –
Live in Germany
Pinecastle CD/DVD
PO Box 753, Columbus, NC 28722
www.pinecastle.com
EMAIL info@pinecastle.com
       CD 1: Fire on the Mountain, Walkin' the Floor Over You, Let's Be Sweethearts Again, Muddy Bottom, If I Should Wanter Back tonight, Bluegrass Melodies, Kentucky, Sunny Side of the Mountain, Listening to the Rain, Some Things I Want to Sing About, Your Love is Like a Flower
       CD 2: Katy Hill, Georgia Mules and Country Boys, Windy City, Rank Strangers, Nearer My God to Thee, Orange Blossom Special, Wreck of the Old '97, Blue Ridge Cabin Home, Midnight Flyer, Georgia Pineywoods, Tennessee Hound Dog
       DVD: Walkin' the Floor Over You, Bluegrass Melodies, Sunny Side of the Mountain, Georgia Mules and Country Boys, Nearer My God to Thee, Kentucky, Tennessee Hound Dog, Faded Love, Ruby, Rocky Top
       Kentuckian Bobby Osborne began his music career in 1949 with The Lonesome Pine Fiddlers. Sonny Osborne joined the group a year later at age thirteen. When The Osborne Brothers played Streekermoor, Germany on July 30, 1989, they had already been members of the Grand Ole Opry for 25 years and "Rocky Top" had been the designated state song of Tennessee for five years. Thus, these legendary bluegrass musicians were ambassadors for the genre, and they were greeted in the small venue on a rainy Sunday night by an extremely friendly and appreciative crowd. Along with Bill Monroe and the Blue Grass Boys, the band had been touring throughout Europe. The Saturday night before this show they had played Switzerland, and then a 600 - mile drive was required to reach this engagement in Germany. The CD jacket includes some interesting anecdotes and recollections such as Sonny's and Bobby's memories of traveling with Monroe.
       At the time, the Osbornes' band also included Terry Eldredge (guitar, vocals), Terry Smith (bass), and Steve Thomas (fiddle). Thomas, Eldredge and Smith would've joined up with them about 1988, a year before this tour. From Indiana, Terry Eldredge had previously played with Lonzo & Oscar, and he was appearing on the Grand Ole Opry before he was even old enough to vote. Terry's tenure with The Osborne Brothers spanned the period from 1988 - 2000. He'd began with them as their bass player but switched to guitar when Terry Smith joined up. The 1981 Virginia State Fiddle Champ Steve Thomas had previously played with Del McCoury's Dixie Pals, Jim & Jesse, Lost & Found, and The Whites. He was with The Osborne Brothers from 1988 - 91. Besides hearing all their classic favorites like Kentucky, Listening to the Rain, Georgia Mules and Country Boys, Midnight Flyer, Tennessee Hound Dog, and Rocky Top, the show offers a number of special treats for fans. I especially enjoyed twin fiddles (Sonny and Steve) on "Your Love is Like a Flower," an 8 - minute jamgrass version of "Nine Pound Hammer," Terry Smith's lead vocals on "Blue Ridge Cabin Home," and Terry Eldredge's lead vocals on three numbers (Muddy Bottom, If I Should Wander Back, Listening to the Rain).
       In 2004, the audio and video for the 1989 show were brought to the attention of Sonny Osborne and the owner of the Pinecastle label, Tom Riggs. Rather than allow the show to be sold to the Bear Family label and put out without editing and mastering, Sonny and Tom decided to work with the raw products that had been recorded on a one - track tape machine and grainy video camera. Considerable work was needed to make this 2 - CD and DVD set ready for marketing. While it still leaves a little to be desired, kudos to all those involved (like John Eberle who did the mastering) to make this a viable product. Charlie Cushman and Terry Smith overdubbed rhythm guitar and bass. Fiddler Glen Duncan was called in to fix a spot in "Nearer My God To Thee." You get the idea. Unfortunately, it doesn't look like much could be done with the video, but it still captures the energy and excitement of a live Osborne Brothers show. Although the liner notes only indicate that there are ten cuts on the DVD, it actually has 30 tracks with almost all of the songs included. I'm not sure why there is this discrepancy between the CD jacket and actual video. The DVD even includes some songs that aren't listed on the CDs such as Nine Pound Hammer, Say Ol' Man, My Favorite Memory, and Rock of Ages.
       Sonny's liner notes state "that this live show is so typical…we always tried to have fun with our music…enjoy ourselves and one another." I understand that this is just the first of several unreleased Osborne Brothers recordings that Pinecastle will put out in the future. I certainly look forward to seeing and hearing what else they find in the archives. (Joe Ross)



 
JOHN PRINE & MAC WISEMAN –
Standard Songs for Average People
Oh Boy Records OBR-038
Johnprine.net OR oboy.com
EMAIL kissyblack@lotosnile.com
Playing Time – 44:57
       Legendary Nashville record producer, songwriter and engineer Cowboy Jack Clement had a definitive hand in this production by introducing Mac Wiseman and John Prine who had never met until recently. Clement has known both of the singers since the 1960s and 70s, and they developed an immediate kinship. Realizing that they both shared a similar love for classic country standards, it was decided to record a set together using material from Ernest Tubb, Bob Wills, Tom T. Hall, Kris Kristofferson, Bing Crosby, Leon Payne and others. Knowing Cowboy Jack's reputation, I'm sure he had plenty of advice for this collaboration too. "A good song gets better with age," he once said. The good songs they pick include Lefty Frizzell's "Saginaw, Michigan," Charlie Feathers' "I Forgot to Remember to Forget," Ernest Tubbs' "Blue - Eyed Elaine," Leon Payne's "I Love You Because,"and Al Dexter's "Pistol - Packin' Mama," and others. Clement also once stated that "there's nothing wrong with waltzes if they're played right." Maybe that's why they close the set with "Old Rugged Cross" and then "Where the Blue of the Night."
       The top session players add a variety of instrumentation and background vocals to the mostly slower tempo'ed repertoire. Acoustic stringed instruments sit nicely with piano, organ, electric guitar, pedal steel, harmonica, accordion and drums to create a sound reminiscent of the 1950s. The accompanists include Tim O'Brien, Stuart Duncan, Kenny Malone, Charles Cochran, Lloyd Green, Dave Jacques, Ronnie McCoury, Joey Miskulin and others. Jack Clement plays Dobro or rhythm guitar on five tracks. The musical mood from yesteryear is most apparent on those seven tracks that incorporate the Carol Lee Singers' background vocals in a style of that era. Mac and John often trade off singing verses, and they even sing a few phrases in unison (a slight distraction).
       Mac and John may be getting up in their years. Mac's in his 80s now. John was diagnosed in 1998 with throat cancer, and he's undergone surgery to deal with that. There's a lot of cautionary insight in the old country songs like "Pistol Packin' Mama." However, as they sing in "Don't be Ashamed of Your Age," Mac and John remind us of an essential tenet in their lives – "Life ain't begun until you're 40, son. That's when you really start to go to town." This album is proof that little is slowing these two energetic legends down. (Joe Ross)



 
JOHNNY BUSH –
Kashmere Gardens Mud
Icehouse Music
www.johnnybush.com
Angie Carlson angie@pressdarlingpr.com OR cgallagher27@sbcglobal.net
Playing Time – 51:29
       John Bush Shinn III was born in 1935 in an "unforgiving land north of the bayou" called Kashmere Gardens in Houston, Texas. With a stained memory that still lingers in his blood, "Kashmere Gardens Mud" is the musical accompaniment to Johnny Bush's biography. The song make reference to his parents' divorce when he was just seventeen, and in 1952 he began his musical career at the Texas Star Inn in San Antonio. While the salvo written by Bush seems weak for the album's opener, it sets the stage for some grooving music that taps his honky - tonk, blues, western swing, big band, Cajun and even mariachi influences. The album shows that Bush's setbacks in life haven't slowed him down. About the time of this album's release, Johnny's autobiography ("Whiskey River (Take My Mind): The True Story of Texas Honky Tonk" co - written with Rick Mitchell) is scheduled for publication by the Univ. of Texas Press.
       While Bush may not have the vocal range he used to, the album serves as a powerful "tribute to Houston's country soul" by tapping classic country standards like Moon Mulligan's "I'll Sail My Ship Alone" and Townes Van Zandt's "Pancho and Lefty" with a stellar cast of Texas musicians such Bobby Flores, Johnny Gimble, Bert Wills, Jesse Dayton, Calvin Owens Blues Orchestra, Frenchie Burke, Buddy Emmons, Brian Thomas, Floyd Domino and others. There's plenty of steel guitar and fiddle throughout, shining with luster over the rhythm foundation of guitar, bass and drums. I especially enjoyed the orchestral arrangements of "Free Soul" and "Born to Lose," both recorded at SugarHill Studios in Houston. Bobby Flores and Shane Pitsch provide a mariachi intro to Dale Watson's "Tequilla and Teardrops," that also includes Watson's vocalizing. Two songs (Pancho and Lefty, Send Me the Pillow That You Dream On) include Johnny's friend Willie Nelson. Coming off more like a front porch jam among a couple good ol' boys, the latter is a rawboned arrangement with just acoustic guitars and vocals. Johnny's affiliation with Willie goes back to the early - 1960s when Bush played drums in Willie's band, The Record Men. Then, both guys worked in Ray Price's Cherokee Cowboys. The late Floyd Tillman also sings on his own composition, "They Took the Stars Out of Heaven." A few more background and harmony vocals would've enhanced the set. Eddie Noack's "These Hands" begins with an excerpt of the original 1955 recording by Smilin' Jerry Jericho. Johnny's hands may be getting calloused and aged, but his music still wins our hearts. Track 13, Johnny's self - penned "I Want a Drink of that Water" includes some unison singing with his brother, Rev. Gene Shinn. Track 14 is a reprise with instrumental snippets from all the songs on the album. Track 15, a 3 - minute bluesy number, is a bonus that isn't even mentioned in the CD jacket.
       Once dubbed "The Country Caruso," Bush's biggest challenge in life first hit him in 1972 when he started to experience a tightness and raspiness in his voice. Being dropped by the RCA label and an addiction to Valium followed. Six years would pass before he was properly diagnosed with a rare condition called spasmodic dysphonia that causes the vocal cords to have uncontrollable spasms. His hit song "Whiskey River" (covered by Willie Nelson) brought regular income, and Bush also continued to perform. Radical exercise techniques helped him make a comeback with music. After a western swing project in 1994, he released a number of albums from 1998 - 2001. In more recent years, botox injections into the vocal cords have also helped him cope with spasmodic dysphonia.
       Like a chapter in a Steinbeck novel, the Texas Country Music Hall of Fame legend's life was changed forever years ago as a kid when he was first bitten by the bug to be a singer and performer. I get the impression that he's a fighter and refuses to throw in the towel…the type of affable guy who loves to be entertaining on stage. In fact, he's become a role model and inspiring mentor to younger musicians who can relate to his strong affinity for singing and performing. This album will only serve to reinforce his solid place in Texas' classic country music history. (Joe Ross)



 
STEVE STERN –
Steam Powered Stern
No Label, No Number
www.stevesternmusic.com OR www.goodstuffpr.com/
EMAIL shari@goodstuffpr.com OR steve@stevesternmusic.com
Playing Time – 31:39
       Originally from West Virginia, Steve Stern played many coffeehouses and clubs in the 1970s. He formed his New Anthem Band in 1986. With Laurie Cackowoski in a group called "Guns & Garters," Steve played around Pennsylvania, West Virginia and Ohio before relocating to Nashville in 1993 to follow his muse as a songwriter. Some of his previous compositions have brought him considerable notoriety and visibility. "The Harley Anthem" (later renamed "The Biker's Anthem") brought him many gigs at motorcycle rallies. Today he rides a 1984 Harley Electra - Glide. In the mid - 1970s, "The Steel City Blues" became a standard for many Pennsylvania blues bands.
       In this set of originals, Stern hopes that each and every one of us will hear at least one song that will brighten the day, or maybe even define one's life. With sentiments largely inspired by his wife and three children (ranging in age from 5 to 19), Stern weaves his lyrics and melodies into pleasant, easygoing tunes like "Let's Talk About Love" or "Light the Candle" that incorporate influences from the bluegrass, country, western swing and folk genres. A broad base of experience is apparent in his eclectic set. Stern attributes a variety of influential artists for their encouragement Merle Haggard, John Hartford, Jerry Jeff Walker, Ray Benson, David Bromberg, and Doc and Merle Watson.
       I always enjoy hearing songwriters impart emotion and feeling by singing their own compositions. Steve tells his stories in a genial manner, and his messages grow on you with repeated listens. Songwriting is a learned skill, and the album demonstrates the development of his aptitude over the years. Opening with an earlier bluegrass composition, "Walkin' Through the Country" was co - written in the 1970s with Kevin ‘Hod' McLaughlin. The lyrics are a little leaner and more simplistic than his more recent messages. "Country Morning" incorporates some vivid imagery of the hustle and bustle of family life around dawn on the farm. "Biscuits and gravy and we're good to go!" A pleasant bridge is built to track 3, "Hallowed Ground," that depicts the songwriter's conflict of being on the road yet always searching for that sacred place to call home. With more country flavorings, that and other pieces incorporate Kenny Malone's percussion and Pete Finney's steel guitar. Guitarist/singer Stern enlisted proficient instrumentalists to be a part of the album's New Anthem Band – Mike McAdam and Van Manakas (acoustic guitar), Dave Roe (bass), Barbara Lamb (fiddle), Charlie Cushman (banjo), Ronnie McCoury (mandolin), and Randy Kohrs (Dobro).
       Of special note are the harmony vocals provided by Lisa Aguilar whose smooth, silky voice softens some of the rougher, robust edges of Stern's. "I Know How To Love" has a nice call - and - response vocal arrangement that would make for a charming song for a couple to sing on their wedding day. "You light a fire in me when I see you smile…" In a similar vein, "Love You Tonight" and "Heaven on Earth" convey one's affection, sincerity and passion for another. The latter song (as well as "Let's Talk About Love") were co - written with Darren Haston. "Two Girls Play the Spoons" is a catchy tale, based on a true life experience from 20 years ago, about "two pretty girls a - spoonin' through the middle of the night." I've never cared much for the "strange metallic tapping" of spoons, but the novelty tune has a pleasant bluegrass groove and references to the genre even if spoons are typically frowned upon among the majority of bluegrass jammers.
       In one of his songs, Steve Stern admits that he's been around the block a time or two. At age 43, he even underwent open heart quintuple by - pass surgery in 1997. But now he's got a new album out, and he's anxious to present his originals with his Nashville - based band that includes Rebecca Baumbach (fiddle), Rick Otts (banjo), Bob Grant (mandolin), Caleb Mundy (bass), and Ferrell Stowe (Dobro). Lisa Aguilar will appear with the band at some engagements. I'm sure that Steve's live shows will be fun, entertaining and full of fresh and interesting material … just like this album. Read more about Steve Stern at www.stevesternmusic.com (Joe Ross)



 
LAST TRAIN HOME –
Last Good Kiss
Red Beet Records RBRCD003
PO Box 68417, Nashville, TN. 37206
www.lasttrainhome.com OR www.redbeetrecords.com
Playing Time – 48:47
       Last Train Home continues to ride the wave. While based in the Washington area, they won a dozen WAMMIEs (Washington Area Music Awards) and has built both a solid reputation and fanbase over the years. Last Train Home's latest eclectic alt - country effort (their fourth album overall) includes eleven originals, ten by guitarist/vocalist/frontman Eric Brace and one penned by guitarist Steve Wedemeyer. The band has been cranking out the tunes for about ten years, and Brace relocated to Nashville in 2003. Delivering a confident and personalized roots rock sound, Last Train Home also includes Jen Gunderman (keyboards, accordion, percussion), Jim Gray (bass), and Martin Lynds (drums, percussion). Jen and Martin contribute background vocals. Also appearing in the mix are Kevin Cordt (trumpet), Claire Small (backing vocals on "The Color Blue"), and Tom Mason (banjo on "You").
       The title track opens the set with a desire to move on beyond broken hearts and promises despite the availability of one "last good kiss." The set makes a dynamic segue to melodic electric guitar riff of "Flood," a song about being carried away on the rising tide of love. A poignant ballad with acoustic overtones, "Anywhere But Here" expresses the yearning to find new direction. In fact, many of Brace's sentiments are about his optimistic needs, wishes and dreams, through thick and thin, always trying to keep an upbeat attitude despite adversity and rejection. Gunderman's accordion gives the band a distinctive Texas border sound, and my guess is that they're building a legion of fans in the Lone Star State at roadhouses and dance halls where they perform. The 5 - minute "Go Now" and 7 - minute "May" express some of Brace's most pensive and reflective moments "be brave enough to let it all in, always give more than you take." Putting these two relaxed songs back-to-back at the midpoint of the set creates a whole different mood, one that is captivating but some may feel is enervating and causes the set to lose some of its energy. I hope that lyrics for their songs will be uploaded soon to the band's website because listeners need to contemplate and reflect upon them. The second half of the set make some clear and convincing statements, but I felt some additional background vocals would have sweetly embellished choruses on songs like "I'm Coming Home," "Kissing Booth," and "Marking Time." The combination of percussion, trumpet and Claire Small's vocal backing make the album's unique closer, "The Color Blue" awash with an impressionistic azure character that leaves us feeling in high spirits and content with the overall set. (Joe Ross)



 
THE SKYLIGHTERS –
Self-Titled
Red Beet Records RBR-001
Playing Time – 45:57
       SONGS - See What Love Can Do, My Baby's Gone, Close the Door Lightly, Last Train From Poor Valley, Bonaparte's Retreat, Nevertheless, Are You Missing Me, Maybe Tomorrow, Dear One, Carolina Star, Are You Wasting My Time, Guess My Heart Has a Mind of Its Own, I Wish You Knew, Going Up Home to Live in Green Pastures
       Aiming for new heights in the Americana market, The Skylighters have the necessary luminescence to go far. The also have the ability to see through and beyond any perceived or self - imposed ceiling in the music market. With solid footings in multiple genres, the ensemble is a collaboration of three members of the Nashville - based group Last Train Home (Eric Brace, J. Carson Gray, Martin Lynds) with mandolinist Jimmy Gaudreau and pedal steel guitarist Mike Auldridge. Brace's expressive lead vocals are warm and good - natured, and they wrap agreeably around the breaks, fills and vocal harmonies provided primarily by Jimmy and Mike.
       The Skylighters' likable repertoire draws upon both successful established oft - recorded hits and balances them with more obscure songs. Clearly fans of The Louvin Brothers, the band covers four of their songs. An appetizing and spirited rendition of Pee Wee King and Redd Stewart's "Bonaparte's Retreat" gets the toes tapping. Another favorite is Jim Croce's "Maybe Tomorrow" that incorporates the piano of Jen Gunderman who also flavors "Carolina Star" with some laid - back accordion. That Hugh Moffatt composition is also given a slightly different mood with the use of Gaudreau's mandola. While the steel and mandolin are integral elements of their band sound, some diverse guest instrumentation is always a wise move for greater attention - grabbing variety in a 45 - minute set. A heavier drum track and Gaudreau's electric guitar seem problematically overbearing for "Dear One," but another listener might actually like this more raucous rendition. While I love the classic country wail of pedal steel, I personally found some of the more acoustic numbers with Auldridge's resophonic guitar to be satisfying treats for a little change.
       I was impressed by the band's interest in songs from various decades. Harry Ruby and Bert Kalmar's "Nevertheless" (a hit for Bing Crosby and Rudy Vallee) dates to 1931. Eric Andersen first released "Close The Door Lightly" in the mid - 1960s, and I think Norman Blake and Tony Rice released "Last Train to Poor Valley" about 1990. Eric Brace's bluegrassy murder ballad "See What Love Can Do" also appears on Last Train Home's 2003 "Time and Water" release and is a warning to any father who stands in the way of true love.
       The Skylighters have songs that impart ample variation in tempo, tones and rhythms. "Going Up Home To Live In Green Pastures" closes the album on spiritually - tinged note. Given the great potential and proficiency of this group, I hope they'll dig even deeper into the archives for lesser known western swing, jazz, bluegrass, blues and classic country numbers. They're building a musical vision together, and a combination of their innovative nimble - fingered musicianship coupled with a strong belief in their own ideas could lead to some real cutting - edge contemporary sounds that both recall a bygone era and offer new originals with that classic sound. I can hardly wait to hear their next volume. (Joe Ross)



 
FABULOUS BAGASSE BOYZ –
Not Yer Daddy's Bluegrass
TFBBP010107
www.myspace.com/thefabulousbagasseboyz
EMAIL TFBB@i - 55.com
TEL. 225-752-6543
Playing Time – 46:46
       In their CD liner notes, the Fabulous Bagasse Boyz extend special thanks to Spongebob Squarepants (yes, the cartoon character) for his "infinite wisdom, advice and ongoing inspiration." That alone may give you a hint about this Louisiana - based trio that takes its name from that fibrous part of sugar cane or sugar beets that is left after the juice has been extracted. The Fabulous Bagasse Boyz don't live in a pineapple under the sea, but they certainly have a lot of fun and serve up plenty of nonsense. At the same time, their seventeen tracks aren't so crazy that they encourage you to drop on the deck and flop like a fish. When they play a standard number like "Hot Corn, Cold Corn," they emphasize the former. The Boyz are simply a good - time band that is entertaining for their irreverence and attitude that don't necessarily strive for a flashy, conventional approach to bluegrass. Heck, didn't Spongebob once say, "Imaginaaaaaation makes a rainbow"? Another favorite quote from the character is that "some day, with a little luck, and a tiny pinch of magic, all your dreams will come true!" That may very well be the underlying tenet for these Boyz.
       The FBB consists of Rex Hall (guitar), Willi Sager (bass), and Hans "Fritz" Mayers (banjo, mandolin). You can tell they really enjoy playing together and singing in harmony. For something really off-the-wall, perhaps they should work up a bluegrass version of Spongebob's theme song. They do, however, cover eclectic material from such diverse sources as Johnny Nash to Dave Akeman, John Hartford to Mark Schatz, Bill Bryson to Pete Goble, Townes Van Zandt to William Shively. There are also a number of traditional instrumental tunes featuring primarily banjo breaks with solid rhythm accompaniment. Mayers does a particularly fine job on "Lost Indian," which they also list as "Disoriented Native American" and end with a whoop. "Calgary" also has plenty of drive. "Wilson's Clog" is one you don't often hear on banjo. Mayers' mandolin makes only an understated appearance in a few places like Roy Maples' gospel piece "I Am, I Was, I Will." On their future projects, it would be nice to hear some more mandolin, as well as perhaps some guests on fiddle and/or resophonic guitar. Almost all of their songs are concise and succinct, each coming in at three minutes or less. I understand that their infectious repertoire at live shows is even more varied with songs from Elvis, Gershwin, Everly Brothers, Village People, and others. They also display a Spongebob donation box with a caveat "the sooner the box fills up, the sooner we'll stop playing and you don't have to listen to us anymore."
       The spirited band formed in 2002, and their notes state that "there was much consternation from all corners as this axis of goobers ... came together with the sole purpose of humiliating the musical world with their slip - shod musicianship and annoying arrangements." It's refreshing that "Not ‘Yer Daddy's Bluegrass" doesn't take itself too seriously. Their first album is referred to as a "disc of vexation," but it's really not so annoying or distressing. Their music is full of banjo - centric fun, enthusiastic vocals, and down - home excitement. It's very animated hydrodynamically designed music that would make Spongebob proud, and The Fabulous Bagasse Boyz aren't even above calling themselves goof y goobers. With a fast - moving stageshow that incorporates strong comedy, I'll bet they're hits at regional fairs, quirky festivals, and rowdy clubs … especially when Annoy Squidward Day rolls around every year. (Joe Ross)



 
MITSUKI DAZAI –
Autumn: Music for Solo Koto
North Pacific Music NPM LD 029
PO Box 82627, Portland, OR. 97282
TEL. 800-757-7384
EMAIL mizki@centurytel.net
www.NorthPacificMusic.com
Playing Time – 1:02:06
       The refined elegance of Mitsuki Dazai's "Autumn: Music for Solo Koto" is a pleasure to behold. Mitsuki Dazai, a graduate of Japan's renowned Kunitachi College of Music in Tokyo, majored in vocal performance in the Western Classical tradition. However, she also was drawn to the non - western traditions of Eastern Europe, Middle East and Asia that eventually led Mitsuki on a circuitous route to a discovery of traditional Japanese music and koto, a thirteen - string plucked zither of Paulownia wood with movable bridges under each string. She studied traditional koto music at the Ikuta School. Inspired by the cultural veneration for this instrument, she next pursued advanced studies in contemporary koto music at Sawai Sokyokuin, with instruction by modern koto Master Tadao Sawai and world - renowned Kazue Sawai.
       "Autumn" is Dazai's first solo album and has over an hour's worth of classical and modern pieces. Typically, both types are composed in slow, moderate and fast tempi. To our western ears, classical pieces appear to have no melodic line because of their meandering, contemplative notes built around pentatonic scales. For me, a standard traditional work like "Rokudan" (meaning "six sections") represents the innermost soul and being of Japan itself. Composed in 1953 (only about 3 years before his death), Michio Miyagi's "London no Yoru no Ame" (Rainy Night in London) demonstrates why Miyagi gained worldwide notoriety after releasing his music in the 1930s and later. After losing his sight as a child, he went on to compose more than 500 pieces, improve the instrument, and invent kotos with additional strings for more dynamic expression. Compositions by Tadao Sawai (1937 - 97) and Hikaru Sawai (1964) are splendid selections that convey images of birds in flight, clouds, cherry blossoms in spring, and the shadows of life itself. The title cut (in three movements) was penned by Tomas Svoboda (1939), a noted Czech composer who relocated to the U.S. in 1964 and taught at Portland State University (Oregon) for nearly three decades. "Autumn" was commissioned in 1982 by the late koto master Yoko Ito Gates. Of special note on this project are the two self - penned pieces by Mitsuki Dazai entitled "Breeze" and "Sky High." Her string bends, plucks, strums and other techniques in "Breeze" capture the inspiration she felt on the windswept beaches of Costa Rica. Married to a retired airline pilot, Mitsuki Dazai has spent considerable time in the air but now calls Oregon her home. Like a hawk surveying the land, "Sky High" evokes the joy of soaring independently and discovering new destinations. The album was recorded over a six month period n 2006 at Immanuel Lutheran Church in Portland, Oregon.
       For me, "Autumn" is a sound poem with many verses inspired primarily by the elements of nature. In the hands of master instrumentalist Dazai, the koto pulls us in, plays on our emotions, and leaves us to reflect with greater awareness of both the subtlety and uniqueness of each fleeting moment. Mitsuki's special quality of sound is obviously the result of having highly proficient technical skills, a good ear, much sensitivity, and a thorough knowledge of how to present the nuances and colors of sound. She realizes that sound is much like paint with varying colors, and Dazai uses her instrument as the paintbrush. The entire set is very colorful due to the sound's tone and the relationship of the notes to those around them. Successive tones in musical space stimulate imagination and create melodic illusions. Mitsuki's musical notes offer both bright and dark sounds, and her sonic colors collaborate to produce feelings and emotions. Mitsuki's touch is as delicate as an eye surgeon's, and the emotional content of her solo recording debut on koto has great sensory and emotional impact. "Autumn" Music for Solo Koto" is a joyful experience. (Joe Ross)



 
STEVE BONAFEL –
Feuds & Fridays!
One Iota Publishing, No Number
EMAIL sbonafel@hotmail.com
stevebonafel.com OR cdbaby.com OR radiosubmit.com
TEL. 859-468-3773
Playing Time – 41:28
       "Feuds & Fridays!" features ten contemporary bluegrass originals and two covers presented by Steve Bonafel, a vocalist from northern Kentucky who I first heard with his band, One Iota, a few years ago. The band showcased at the 2006 IBMA Trade Show & Convention. The band's upbeat and comforting 2002 CD is called "Never Grow Old." In 2004, Bonafel released a debut solo album of originals called "Dream Catcher."
       On this latest project, Steve wrote all of the songs except "Big Spike Hammer" and "Think it Over." Bonafel's got some charming material, and he has a pleasant tenor that imparts plenty of feeling and sentiment to his stories and messages about life's adventures, journeys and characters. With "all the Kentucky news that's fit to print," the album's stories are like an 1888 newspaper put to music. Singing with the emotion of an imprisoned Kentucky moonshiner's perspective, "Shiner's Lament" expresses "I wish I was home, and I never saw that still!" after a young man is murdered. The song is a true story about Steve's great uncle. Written after performing for the death row inmates at Eddyville, Ky. maximum security prison in 2004, "The Ballad of Roseanna McCoy" is also a true story that describes one key episode in the long - running feud between the Hatfields and McCoys in Big Sandy River Valley. The vocal harmonies of Melissa Conway, Paul Brewster, and Carly Pearce embellish the choruses that are sung as duets. The swingy and melodic "Wish You'd Go Away" is arranged simply with solo vocals in a crystalline statement about moving on. "The Old Stick" is given similar treatment with character, content and concision.
       Bonafel's lyrics make clear statements, but his music carries creative messages of its own. Good rhythms and pretty melodies make his songs really work. Their stellar interpretation is also the result of having an instrumental cast consisting of Andy Leftwich (mandolin, fiddle), Rob Ickes (Dobro), Cody Kilby (guitar) and Dave Pomeroy and Berry Bales (bass). Bales played the slow songs, and Pomeroy is the bassist on the fast songs. Producer Andy Leftwich was eager to enlist members of "Three Ring Circle" (a "jamgrass acoustic power trio" with Ickes, Leftwich, Pomeroy) to assist. "Never Saw Sara Alone" is about a boy's regret at losing a popular girl. Steve likes writing in ¾ - time, and "Big River Dream" has a sweet aesthetic.
       Another of Bonafel's pieces in ¾ time, "Working Man's Prayer" is a witty call for justice, focus, wealth and happiness in life. You're sure to grin when his call to the Lord includes the suggestion of "when the fires of Hell are stoked good and hot, would you give ol' Bin Ladan a call?" Bonafel shows that he has a knack for communicating heart to heart, soul to soul, and without any filters that limit his expression. I'm sure that his own talented band (One Iota) covers them well in live performance also as part of their goal to present refreshing and innovative material that is both fun and reflective. (Joe Ross)



 
HUNTER BERRY –
Wow Baby
Upper Management Music 7002-20-06-001
1713 Gap Creek Road, Elizabethton, TN 37643
TEL. 615-574-1116
EMAIL hunter@hunterberrymusic.com
www.uppermanagementmusic.com OR www.hunterberrymusic.com
Playing Time – 36:12
       SONGS - Wow Baby, In The Pines (featuring Keith Williams), Billy in the Low Ground, Blue Kentucky Girl (featuring Sally Sandker), Leather Britches, Hard Living (featuring Rhonda Vincent & Sonya Isaacs), Waltz For Mom and Dad, Rag Time Annie, Kansas City Kitty (featuring Buddy Spicher, Buck White & Bryan Sutton), I'm Waiting To Hear You Call Me Darlin' (featuring Marty Stuart & Bobby Osborne), Fiddler's Dream, Softly And Tenderly (featuring Keith Williams)
       The phenomenal Hunter Berry is first and foremost a fiddler of the highest degree. The 4 - time SPBGMA Fiddler of the Year has also been nominated twice for IBMA's Fiddle Player of the Year. From the town of Elizabethton in the hilly region of upper East Tennessee, some might think this musician's musician was born with a fiddle in his hands. Seems that he actually learned to play the spoons at age four, and Hunter was sawing the strings by age nine. Taught by Benny Sims and David Yates, the prodigy progressed quickly. Now, when Hunter gets the rosin flying, it's easy to mistake it for smoke in his fiery playing.
       The reputation of this young phenom spread like wildfire, and Hunter was invited to join Doyle Lawson's band when he was only in 8th - grade. His parents had to reluctantly defer Hunter's acceptance until arrangements were made so that he could quit school and get his G.E.D. So, at age 17, Berry became a professional musician touring with Quicksilver. The gig, which lasted for nine months, taught the young fiddler much about discipline. On this debut album, Hunter's first employer is featured as the principal mandolinist (six cuts), and Lawson sings tenor harmony on the closer "Softly and Tenderly." In January, 2002, another chapter in Berry's musical career was about to be written when he joined hard - working Rhonda Vincent and The Rage (replacing fiddler Michael Cleveland). In a song she co - wrote with Terry Herd, Rhonda sings the lead vocals on "Hard Living."
       Perhaps most impressive is that fact that Hunter Berry understands his role as song carrier, one who not only comprehends the importance of folkloric tradition but also the need to keep it vibrant and alive. Some might argue that old - time fiddle tunes like Billy in the Lowground, Ragtime Annie, or Leather Britches are overdone war horses. However, in the hands of Berry & Friends, tasty new renditions are baked to perfection. The core group of accompanists enlisted for the project includes Tony Rice (guitar), Doyle Lawson (mandolin), Ronnie Stewart (banjo), Darrin Vincent (bass). Arthur Smith's "Fiddler's Dream" is a hoedown we don't hear quite as often, and Hunter imparts sweet Texas - style bow work to the proceedings. Always an entertaining crowd - pleaser, his western swing arrangement of "Kansas City Kitty" also has drums (Tom Roady), piano (Buck White), and second fiddle (Buddy Spicher). Bryan Sutton's jazzy guitar break shines. Hunter's own triple fiddles embellish "In the Pines" and "Blue Kentucky Girl." Of special note are his own two originals, "Wow Baby" and "Waltz for Mom and Dad," the latter arranged without banjo. If fiddling is major part of this CD, so are the bluegrass songs that are so capably performed with guests like Dan Tyminski, Marty Stuart, Bobby Osborne, Adam Steffey, Jason Carter, Sally Sandker, Sonya Isaacs, Keith Williams, Randy Kohrs and others.
       The gifted Hunter Berry is only 22 years old, and he's already hanging with bluegrass legends and at the top of the bluegrass game. A bright, fulfilling career ahead will yield many bountiful musical rewards for us too. Hunter's well on his way to becoming a fiddling legend in his own right. (Joe Ross)



 
MARTY RAYBON –
The Grass I Grew Up On
No label, No number
320 Spurr St., P.O. Box 740009, Tuscumbia, AL 35674
EMAIL Mta3806@aol.com, wes@martyraybon.com, info@eastpublicrelations.com
Playing Time – 38:33
       SONGS - Highway Headed South(To Dixie), Alone With You, I Can't Even Walk(Without You Holding My Hand), Shenandoah Saturday Night, The Nerve, That Home Above, The Water's So Cold, Sit Down(And Pray), Standing Tall And Tough, The Fuss, Roustabout
       As a kid, Marty Raybon was bit by the bluegrass bug ... in a big way. Former Shenandoah lead singer Raybon was raised on bluegrass, and he’s never let the music flee from his heart. Marty cut his teeth on bluegrass as part of his family band (American Bluegrass Express) with his father and two brothers. About 1985, the seed was planted and cultivated for Marty’s Alabama-based popular country group, Shenandoah, which had a number of hits. Despite his many country music awards, the soulful singer felt a strong calling to honor the Lord, as well as to play that type of joyous acoustic string music that continued to burn in his heart. With Marty playing rhythm guitar, Full Circle has released three albums of traditional bluegrass and gospel music, and “The Grass I Grew Up On” came out about the same time that his country project (“When The Sand Runs Out”) also did. Thus, Marty’s expressive messages are finding its way onto both bluegrass and country radio airwaves.
       Truly a band with camaraderie, Full Circle includes Shane Blackwell (lead guitar), Ashby Frank (mandolin), Glen Harrell (fiddle), and Edgar Loudermilk (bass). On banjo, Patton Wages plays for most of this album, but he’s decided to spend more time with his family and working as a land surveyor. Full Circle’s five-stringer is now Derek Dillman, formerly a Sunny Mountain Boy with Jimmy Martin, who appears on one track (Standing Tall and Tough). The set’s guests include Andy Hall (Dobro) and Tim Raybon (harmonies). Andy’s involvement seems rather minimal, but his Dobro presence is a nice aural flavoring in “Dixie in my Eye.” Like Marty, these boys all grew up on ‘grass too. A fine guitarist, Blackwell started learning mandolin at age seven and picked with his father’s group, “Curtis Blackwell and the Dixie Boys.” One of the band’s younger members, Ashby Frank plays mandolin with verve and creativity. He has a solo project out on Blue Road Records entitled “First Crossing.” With fiddler Glen Harrell, Ashby penned an instrumental “The Fuss” for this current album. Playing guitar since age 10, Glen picked up the fiddle at 14 and performed regionally with the bands, Perfect Timing and Steel Faith. Another band member with bluegrass running through his veins is bassist Edgar Loudermilk, who started playing guitar and mandolin in his family’s band at age 9. Prior to Full Circle, Loudermilk and Blackwell both played in a group called Carolina Crossfire before Edgar joined Rhonda Vincent and the Rage for a short period in 2002. A stellar songwriter, he’s releasing an album of his originals in 2007. Finally, Derek Dillman’s father owns Bean Blossom Bluegrass Park in Indiana, and Derek was playing banjo by age 12. Working with Jimmy Martin and the Sunny Mountain Boys for three years until Jimmy's passing, Derek is clearly a young up-and-coming talent to be reckoned with who also has the right attitude and bluegrass in his blood.
       From the opening salvo of hotly plucked mandolin in Porter Wagoner’s “Highway Headed South (To Dixie)” to the closing statement in the classic, “Roustabout,” this album is full of drive, intensity and impeccable timing. Marty can remember when he first heard many of these favorite songs. Porter’s television show when Flatt and Scruggs appeared, an Osborne Brothers or Jim & Jesse LP, or a bluegrass festival attended in the 1970s or 80s. As an example, Faron Young’s hit, “Alone with You,” was also on Jim & Jesse’s “Superior Sounds of Bluegrass” album and got plenty of spins on the Raybon household’s turntable. His faith-based devotion is most apparent in “I Can’t Even Walk (Without You Holding My Hand)” and Paul Williams’ “Standing Tall and Tough.” While liner notes only credit Marty and Tim Raybon with singing, “That Home Above” and “Sit Down (and Pray)” are presented with multiple voices a cappella. Bobby Braddock’s “The Nerve” expresses gratitude to God, as well as to paternal and maternal relations for life, knowledge, good times and love. After hearing The Bluegrass Tarheels at a Florida bluegrass festival in 1974, Raybon bought a record and learned the crowd-pleasing “The Water’s So Cold” that moved him so that day.
       Marty Raybon associates himself with a number of young, energetic musicians who share his avid enthusiasm for bluegrass. Individually, the band members seem to have charm, conviction and integrity that complement their talent. Collectively, the group is informal, relaxed, and works well together. While presenting cohesive charismatic songs, they also have fun. Perhaps most importantly, the partnership exhibited on this strong project solidifies the clear musical vision that Marty & Full Circle have established. That strategic foresight capitalizes on the bluegrass music that has circulated freely in their veins since childhood. Marty’s a devoted supporter and big promoter of the music, and he’d like to transfuse others with his affinitive and affective bluegrass disposition too. Back to his musical roots, Marty’s carrying them on. (Joe Ross)



 
TWO TONS OF STEEL –
Live From Gruene Hall
Palo Duro PDR-4005
PO Box 810, Ooltewah, TX. 37363 TEL. (866)PALO-DURO
Media@palodurorecords.com OR wayne@lutherwolf.com OR megjill@aol.com OR chris.thomas@palodurorecords.com OR jill@mcguckinpr.com OR heidi@mcguckinpr.com
www.palodurorecords.com OR www.twotons.com
       AUDIO CD (playing time – 1:00:55): 1. Diddly Daddy, 2. Maybe I, 3. Sedated, 4. Love Is Here To Stay, 5. Unglued, 6. Vegas, 7. You Know, 8. Heartache, 9. Stinkin Drunks, 10. King Of A One Horse Town, 11.Havana Moon, 12. Two Tons Of Steel, 13.You Didn't Know Me, 14.Red Headed Woman, 15.Ice Cream Man
       VIDEO DVD: 1: Intro, 2: Vegas, 3: Unglued, 4: Maybe I, 5: Love’s Here To Stay, 6: Sedated, 7: Ice Cream Man, 8: Baby You Got Me, 9: You Know, 10: King Of A One Horse Town, 11: Stinkin’ Drunks, 12: Little Pig, 13: Your Kiss, 14: One More Time, 15: Credits, 16: On The Bus (Documentary), 17: Your Kiss (Director’s Cut), 18: Red Hot (Director’s Cut)
       Two Tons! Two Tons! With that exclamation to fire up the crowd, lead vocalist Kevin Geil and his buddies launch into a feisty hour-long set of country rockin’ mostly original songs about ramblin’, lovin’ and partyin’. Since the release of “Vegas,” their first release on the Palo Duro label but eighth album overall, the band named for Geil’s restored '56 hardtop Cadillac has further solidified their place and reputation in the Texas music scene. Originally known as The Dead Crickets until 1996 (to honor Buddy Holly’s inspiration), Two Tons of Steel is making history in an appropriate place, Gruene Hall, the oldest continually running dance hall in Texas that was built in 1878. Little did the German immigrants who established the community near New Braunfels realize that their hall would help launch the careers of such notable acts as George Strait, Jerry Jeff Walker, Lyle Lovett, Joe Ely, Robert Earl Keen, and Hal Ketchum. Over the decades, the town has had its ups and downs as the cotton business, good fortune, boll weevil, and Depression all had their impact. A band’s historic evolution has its highs and lows also. Two Tons of Steel is currently on the upswing, with strong label support and a meteoric rise to international fame helping them to thrive and prosper. Just like Gruene Hall’s owner Pat Molak revitalized and helped breathe new life into the town since 1975, the band is breathing new life into Texas music. And the town, record label and band are all doing it while preserving authentic, genuine Lone Star spirit and flash that ignite glowing embers from pioneer days past.
       Besides Geil, these other countrybillies include Dennis Fallon (electric guitar), Ric Ramirez (upright bass), Chris Dodds (drums), and Texas Steel Guitarist Hall of Fame member Denny Mathis (steel guitar, Dobro). Ramirez and Dodds sing harmonies, and Ramirez even slaps out a break on his dawghouse in the song, “Two Tons of Steel.” Guitarist Kevin Geil composed the songs for the majority of this set, and he shows a knack for writing successfully with both classic country and honky-tonkin’ sensibilities. “Heartache” and “Stinkin Drunks” illustrate his affinity for well-worn musical topics, while his songs like “Unglued,” “King of a One Hores Town,” and “Havana Moon” provide glances through more contemporary lyrical window panes. The latter is one of their few reflective ballads about longing, written during the band’s 1997 trip to Cuba. “Vegas” was written for Geil’s wife, Elena, because she loves road trips to Sin City in the desert. I’d like to see future releases from the band include the lyrics for their originals, or perhaps a website can upload Geil’s lyrics. The body of material is very popular with the Two Ton Tuesday crowd, and the regular gigs have built them a loyal dedicated following. You might slightly miss some of the added instrumentation (like harmonica, organ, or trumpet) found on some of their studio recordings, but the energy of a live show more than makes up for that. Kudos to engineer Fred Remmert for capturing a great feel with the recording and mixing.
       The covers come from Ellas McDaniel (Bo Diddley), The Ramones, Bruce Springsteen, and John Brim. Geil puts his own spin and lyric adaptation in McDaniel’s “Diddley Daddy,” and the lively crowd sings with gusto on “Sedated.” By the set’s closing numbers Geil reminds us that it takes a “Red Headed Woman” to get the dirty job done (like rotating your tires). Two Ton’s closer, “Ice Cream Man,” had been originally recorded by Brim back about 1970, but it was about twenty years later when the song was covered and made a big hit by Van Halen. With “all the flavors guaranteed to satisfy,” Two Tons of Steel has some rockin’ hot music that will keep you cool. A DVD that accompanies the package provides video documentation of the jumpin’ rockabilly jive that took place on June 28, 2005 at Gruene Hall. That would’ve been the band’s tenth year playing the annual summer music series there. That same year found them touring Europe. We already know these guys love to entertain. The DVD is a bonus that allows us to further explore and understand their raucous, rowdy ways and to watch the large all-age crowd digging it all. (Joe Ross)



 
ANAIS MITCHELL –
The Brightness
Righteous Babe Records RBR-053-D
PO Box 95, Elliott Station, Buffalo, NY 14205
TEL. (716)852-8020 or 828-252-6300
EMAIL zac@musicallies.com OR anais@rtartists.com
www.righteousbabe.com
Playing Time – 39:37
       SONGS - 1. Your Fonder Heart 2. Of a Friday Night 3. Namesake 4. Shenandoah 5. Changer 6. Song of the Magi 7. Santa Fe Dream 8. Hobo's Lullaby 9. Old-Fashioned Hat 10. Hades & Persephone 11. Out of Pawn
       From Vermont, Anaïs Mitchell is a singer-songwriter with a precociously girlish voice. A winner of the New Folk competition at the Kerrville, Tx. Folk Festival, she’s only in her 20s but has already released three albums since 2002. “The Brightness” is a debut on Ani DiFranco's Righteous Babe record label. With similar tempos and melodies, Mitchell’s contemplative songs require astute listening and comprehension skills. Her lyrics need your focus and undivided attention. “Your Fonder Heart” demonstrates her wide vocal range as she sings “way over yonder I’m waiting and wondering, whether your fonder heart lies.” The album’s title is derived from the second track, “Of a Friday Night,” a ballad that is full of nostalgic imagery as it paints a picture of a time-worn town with its old poet that once knew fullness in the quarter “out in the brightness of a Friday night.” Carrying her own poetic and literary torch, Mitchell seems willing to assume various roles in the song as good time gambler, restless wife, or midnight writer if she can help revive that Friday night luster that once was. Her enthusiasm and optimism glow.
       Embellished with Michael Chorney’s melancholic saxophone, “Namesake” makes an exclamatory statement – “everybody knows you, nobody knows you, everybody knows you, I want to know you.” I view the song as a search for identity among both oneself as well as another with whom your name is shared. “Shenandoah,” one of the few tracks featuring Ben Campbell’s banjo and background vocals, relates a tale of love lost, a reckless daughter of the rolling water. Accepting loss and pain can be stressful and demanding. We cope in different ways, and “Changer” seems to just ask for a little reconciliation and understanding: “I know love is a stranger, I know that changes come, I know love is a changer.” While Anais’ mainly plays guitar and sings, this song is the only one with her piano in the mix. Other instrumentation on the project includes some understated lap steel, bass, sax, organ, drums, viola, banjo and cello. Besides three songs with background vocals by Ben Campbell, some are also sung by Miriam Bernardo.
       “Song of the Magi,” a song awash in emotion, is set in a welcoming west bank town that, because of war, evolves into a town of hope. “Santa Fe Dream” is ambient and austere in the shadows, but Mitchell conveys a pleasurable sentiment – “if it should happen, if you should turn to see, the way that moon sheds her light, on your love where she sleeps, go lay down beside her, and wonder again, that such a small window, lets so much light in.” I can sense that Anais loves to travel, and some of her inspiration comes from discoveries along her journeys. “Hobo's Lullaby” continues the album’s sleepy, lulling atmosphere, and if there’s one complaint, it might have been nice to orchestrate the set with a few moderately-tempo’ed pieces for some pick-me-ups. “Old-Fashioned Hat” is about not needing much to enjoy life and love, but the song ends on a pessimistic note that, following marriage, there will be fighting, drinking and forgetfulness. Inspired by Greek mythology, “Hades & Persephone” is presented as a conversation between the King and Queen of the Underworld. Hades obtained his queen through trickery, but Persephone seems astute enough to ask “what does he care for the logic of kings? the laws of your underworld? it is only for love that he sings! he sings for the love of a girl.” Set in New Orleans, I interpret “Out of Pawn” as a tale written from Uncle Louie’s heart and experience during the flood when it was realized that “the girl and the city were one and the same, and last call never came.”
       In lean, rawboned singer/songwriter fashion, Anais Mitchell’s alluring feminine voice is the radiant and resplendent beam in each piece. With a buoyant and feathery presentation, the troubadour provides some novel interpretive tales and twists to emotional attachment, sensitive feelings, and even controversial political issues. I was hoping to peruse her lyrics for a much better understanding of this songwriter’s muse. Instead, I’m just left with as many questions as answers. I understand that she gets considerable inspiration from “The Alexandria Quartet” (a 4-part novel series by Brit author Lawrence Durrell). She also once wanted to become a journalist. In a sense, “The Brightness” is a kind of musical diary or journal that documents her thoughts, happenings, and probably some fictional occurrences too. She writes very legibly, and I think her best Pulitzer prize-winning music may still be yet to come. (Joe Ross)



 
ERIC UGLUM, CHRISTIAN WARD, AUSTIN WARD –
The Old Road to Jerusalem
Backcountry Music BCK-841
13774 Recuerdo Drive, Del Mar, CA. 92014
www.backcountryrecords.com
EMAIL chris@chrisstuart.com OR euglum@aol.com
Playing Time – 42:21
       SONGS - 1. Paper Heart, 2. The Old Road to Jerusalem, 3. Stonewall, 4. Love Has No Pride, 5. Old Blue, 6. The First Train Robbery, 7. Sweet Memory Waltz, 8. Undecided, 9. Life's Railway to Heaven, 10. Pretty Little Miss, 11. Sidney the Pirate, 12. Edelweiss
       Eric Uglum’s solo debut release, Shenandoah Wind, turned heads and made a significant mark back in 2004. Now, while Eric Uglum is guitarist, mandolinist and lead vocalist on this latest album, the project is really a collaborative ensemble endeavor. It’s a recording debut for his two teenaged stepsons (Christian and Austin Ward) who perform as fiddler and bassist with Chris Stuart & Backcountry. Eric also recently joined that group (replacing Mason Tuttle). Chris Stuart sings harmony on five tracks, and others assisting include Ron Block, Janet Beazley, Bud Bierhaus, Roger Gillespie and Edwin Uglum (Eric and Stacey’s youngest son). While standard bluegrass instrumentation is used, the banjo and mandolin only make occasional appearances. The set also has flavorings of pennywhistles, drums, percussion, and even a tad of finger cymbals, viola and electric bass. Block and Uglum have been friends for many years and go back to their bands of the early-1980s, Weary Hearts and New Wine. Bierhaus can trace his musical collaboration with Uglum back to the fine band, Copperline.
       Adding to their creative Americana muse, there’s an interesting choice of not-so-standard material, much from others with California connections. An uptempo “Paper Heart” opens the CD with some fire and fury, and that song comes from singer/songwriter Patrick Brayer, who “grew up in slow motion on an egg ranch just off of route 66 in the desert town of Fontana, Ca.” Oden Fong’s “Sidney the Pirate” is a folk ballad that imparts spiritual revelation in a song written by a pastor in Huntington Beach who had been a member of Mustard Seed Faith back in the 70s. Chris Stuart has been highly praised as an award-winning songwriter, and his two contributions (“The Old Road to Jerusalem” and “First Train Robbery”) certainly don’t disappoint. The former, with excellent lyrics and fine presentation, was written by Chris while on tour in the U.K. and is about meeting his father in a dream. Chris’ “First Train Robbery” is based on an actual historical event that occurred in 1866 when the masked Reno Brothers boarded an east bound Ohio & Mississippi passenger train near Seymour, Indiana and robbed the safes. Byron Berline’s “Sweet Memory Waltz” is a pleasant offering with twin fiddles and some phrasing that reminds me of “The Waltz You Saved For Me.” Taking on classic jazz tunes (“Undecided”), favorite gospel (“Life’s Railway to Heaven”), traditional (“Old Blue,” “Pretty Little Miss”) and popular melodies (“Edelweiss”) are also in the musicians’ bag of eclecticism. Christian Ward wrote the fiddle tune entitled “Stonewall,” and the group’s cover of a hit for Linda Ronstadt and Bonnie Raitt (“Love Has No Pride”) is imparted with a relaxed folk aura embellished by Uglum’s smooth baritone vocals.
       Besides being well grounded as a musician, Eric Uglum started recording projects at his New Wine Studio in 1997. In the arid high desert of Hesperia, Ca. (between San Diego and Las Vegas), Eric, Christian and Austin have another winner in the “tone, timing and taste” department. With plenty of mood from traditional to contemporary, and Celtic to California, “The Old Road to Jerusalem” offers a musical elixir with an intoxicating effect. Yet another milestone from a well-established California musician and his family, Uglum and company’s musical fermentation is effervescent, largely due to their emphasis on both new and older acoustic spirits. This sparkling 2007 album is of a very good vintage ... with music not too dry or sweet, heavy or light. (Joe Ross)



 
CEDAR HILL –
Portrait of a Song: The Drasco Sessions
Hay Holler HH-CD-1377
PO Box 868, Blacksburg, VA. 24063
TEL. (540)552-7959 OR (636) 789-3102
EMAIL hayholler@verizon.net OR vintagenow@aol.com
www.hayholler.com
Playing Time – 46:55
       SONGS – 1.Another Tear, 2. Pearl, 3. McKenna's Hoedown, 4. Mary O'Grady, 5. Let It Ride, 6. Ozark Hills, 7. Gonna Have A Time, 8. I Beg To You, 9. Four Dollar Fight, 10. Black Diamond, 11. Who Am I, 12. Piney Ridge, 13. What About You, 14. Baker, 15. Hobo's Wings
       From the Midwest, Cedar Hill was originally formed in 1967 by mandolinist Frank Ray. The band and its members are frequent Society for the Preservation of Bluegrass Music (SPBGMA) award winners for strong songwriting, vocal and instrumental skills. In fact, the trophy for 2007 Midwest Award for Bluegrass Album of the Year went to this recording project, as did the winning nod to Lisa Ray as Fiddle Player of the Year. On “Portrait of a Song,” Cedar Hill features Frank Ray (mandolin, vocals), Mel Besher (guitar, vocals), Lisa Ray (fiddle, vocals), Kenny Cantrell (banjo), Irl Hees (bass, vocals), and Kevin Strain (guitar, banjo). Guests with some understated contributions include Ferrell ‘Stobro’ Stowe (resonator guitar, Oahu guitar) and Robert Bowlin (guitar). Following the band’s stellar “Stories” album, this is their second release on the reputable Hay Holler label that is known for its stalwart advocacy of traditionally-based bluegrass.
       Recorded over a three-day period in December, 2005 at Raney Studio in Drasco, Arkansas, this album is also subtitled and referred to as “The Drasco Sessions.” Engineer Jon Raney did a fine job capturing the Cedar Hill sound, charm and mystique. While they have a distinctively traditional stamp, their music’s demeanor emphasizes originality. Thirteen of the 15 songs are new originals from Irl Hees, Frank Ray, Mel Besher, Kenny Cantrell, Darren Haverstick, and Thom Gardiner. Covers include Johnny & Jack’s lovingly profound “What About You,” and Red Allen’s “I Beg To You” in which Mel and Frank sing “On my knees I beg to you if I thought that it would do any good at all / I'd kiss the ground you walk upon / I know now that I was wrong to leave you all alone.”
       Cedar Hill has a knack for knowing what it takes to write great songs. Their originals have clear messages, smoothly flowing melodies, uncomplicated chord progressions, and lyrics that grab your attention. Take Frank Ray’s “Piney Ridge” and “Ozark Hills,” for example, that are also demonstrative of his songwriting development with two pieces written in 1968 and 2005. Back in 1968, Frank wrote “Piney Ridge,” and he provides the lead vocals about a place where “The tall pines grow on Piney Ridge / You can talk to the wind up there / We ain't got much on Piney Ridge / But what we got we share.” His more recent homespun composition, “Ozark Hills,” has even more and well-developed imagery with words like “From the cradle of life, many years have passed /since I sat by a campfire on a mountainside / to listen to the hounds run and the stories told / seen the diamondlike stars of an Ozark night.” Frank also wrote four other fine songs on this project. A lucky man decides to “Let it Ride” and find a fortune at the craps table based on a gypsy woman’s advice. “Gonna Have a Time” depicts an optimistic picture of that Heavenly home in Glory. Like literary works, the reverent songs about home set a stage and pull you into their stories. It’s no wonder that the band has a large legion of Missouri fans who can appreciate and relate to lyrics in the opener from Irl Hees – “Another Tear somewhere there is falling / Another heart is breaking silently for you.”
       Most appealling are the heartfelt and passionate sentiments that are expressed. Mel Besher and Billy Smith’s “Who Am I” assumes a devout tone as it recognizes that human frailties and weaknesses often lead one to question God’s direction. Ballads with evocative, loving or uplifting statements are some of my favorite songs. Darren Haverstick’s “Pearl” is a tale of time passing and affection of a man for his hunting dog. Thom Gardiner’s “Mary O’Grady” is another touching ballad with acoustic country flavorings that speak to the river of life, love, time and memories. Besides painting a beautiful portrait, the song is a sweet and fragrant “bouquet for the prettiest girl in town.” Gardiner also penned the album closer, “Hobo’s Wings,” a slow, reflective plea to be taken home. Kenny Cantrell’s instrumental, “McKenna’s Hoedown” is a tribute to his granddaughter, and Frank Ray’s “Black Diamond” weaves together the melodic fabric of mandolin, banjo, and fiddle.
       In keeping with their personalized signature sound, “Portrait of a Song” emphasizes story songs typically presented with slower to moderate tempos that allow Cedar Hill to accentuate the messages of their compelling narratives. Their songs paint pictures that dramatically describe life’s ups and downs. While life is certainly full of travails and struggles to be reckoned with, Cedar Hill doesn’t dwell on them. I’ve always appreciated Cedar Hill’s music because their messages typically resonate with consolation, inspiration, and resolve. (Joe Ross)



 
JOHNNY CASH –
Ultimate Gospel
Columbia Legacy
EMAIL LegacyMediaRelations@sonybmg.com OR Randy.Haecker@sonybmg.com
www.legacyrecordings.com OR www.johnnycashonline.com
EMAIL Randy.Haecker@sonybmg.com OR Tom.Cording@sonybmg.com OR LegacyMediaRelations@sonybmg.com
Playing Time – 67:14
       SONGS - 1. Here Was A Man, 2. The Preacher Said "Jesus Said", 3. I Was There When It Happened, 4. Belshazzar, 5. That's Enough, 6. It Was Jesus, 7. The Old Account 8. Swing Low, Sweet Chariot, 9. Children Go Where I Send Thee, 10. The Great Speckle Bird 11. He'll Understand and Say Well Done, 12. How Great Thou Art, 13. It Is No Secret (What God Can Do), 14. He Turned The Water Into Wine, 15. Were You There (When They Crucified My Lord), 16. Troublesome Waters, 17. My Ship Will Sail, 18. When The Roll Is Called Up Yonder, 19. In The Sweet By And By, 20. Far Side Banks of Jordan, 21. (There'll Be) Peace In The Valley (For Me), 22. Oh Come, Angel Band, 23. Amazing Grace, 24. Daddy Sang Bass
       Johnny Cash grew up surrounded by music. The field hands sang rhythmic work songs to make the time go quicker. There was the family’s piano. On Saturday nights, they’d tune their radio dial to the Grand Ole Opry. His mother was a devout member of the Pentecostal Church of God where services incorporated music and fire-and-brimstone preaching. This CD, “Ultimate Gospel,” brings together a compilation of sacred material that can provide insight about the singer and his career on a decade-by-decade basis primarily during the 50s, 60s and 70s. By 1950, Johnny had graduated from high school and one of his first bands was “Landsberg Barbarians,” when he served in the Air Force in Germany. By 1954, Cash was back stateside in Memphis rehearsing gospel songs to play at parties and church socials. His brother Roy introduced John to two mechanics at the Chevy dealership where they worked. Both Luther Monroe Perkins and Marshall Grant had been with The Dixie Rhythm Ramblers and The Tennessee Three. The guitarist and bassist are prominently heard in the material dating from the 50s and 60s. At Sun Records, Sam Phillips didn’t forbid them to record gospel, but he did encourage the band to focus on country & western. Tracks 3 and 4 (“I Was There When It Happened” and “Belshazzar”) document some of his earliest gospel recorded in Memphis. Both songs were produced by Jack Clement, and “I Was There When It Happened” is taken from one of Cash’s first records, “Johnny Cash With His Hot and Blue Guitar” put out by Sun Records in 1957. “That’s Enough” is a strong and moving selection from his 1958 record.
       In 1958, Cash’s success led to his signing with Columbia Records. With a simple handshake, producer Don Law entered the picture. Tracks 5-10 and 14-16 on “Ultimate Gospel” were originally produced by Law (and Frank Jones on the latter three) and released on six different albums (on Columbia) between 1958-64. At the time, there were many hits coming out of studios like Bradley's Barn in Nashville. For example, “That’s Enough” was taken from the 1958 LP (Johnny’s first for Columbia) called “The Fabulous Johnny Cash.” That record eventually charted at #19. The May, 1959 record “Hymns By Johnny Cash” was his second Columbia LP. We hear three songs on this collection (It Was Jesus, The Old Account, Swing Low Sweet Chariot). Johnny once said it was “the album he came to Columbia to record,” due to Sam Phillips’ reluctance to allow him to record much gospel material at Sun. By 1960, we hear a regular member of Johnny’s band (drummer W.S. ‘Fluke’ Holland) appear in the musical mix. You may recall that The Carter Family joined Johnny’s touring show in the 60s, and their backing vocals are heard in selections like “He Turned The Water Into Wine,” “Troublesome Waters,” and the others throughout the 70s. I’ve always loved their arrangement and classic presentation of “There'll Be Peace In the Valley For Me” and “Were You There When They Crucified My Lord?”
       While Cash had many popular country and even progressive folk hits, he’d also regularly revisit his gospel roots. Two offerings (“Daddy Sang Bass” and He Turned The Water Into Wine”) are sampled from Cash’s 1968 concept record, “The Holy Land,” with its inspirational songs and narrative based on a trip to Israel with June Carter. Carl Perkins’ “Daddy Sang Bass” was a #1 hit and the song’s lyrics mention “little brother” Jack Cash who died tragically in an electric saw accident. In 1969, Luther Perkins also passed away (in a fire), and Carl Perkins replaced him in the band. Johnny’s duets with June Carter Cash are legendary, and we are treated to a 1976 rendition of “Far Side Banks of Jordan” here.
       Johnny Cash has had many secular hits over the years. The 1980 Country Music Hall of Fame inductee also recorded a considerable amount of favorite gospel numbers during his days. Cash himself experienced poverty and later battled drug addiction, and he realized the need for a relationship with God. These songs had special meaning for him. I’m surprised they didn’t include the song, “I Call Him,” which I always considereds one of his most personally introspective pleas. Spanning over an hour, this set scratches the surface of his sacred music legacy. For those who love classic country gospel music, this album evokes a strong feeling of being close to God. The spiritual strength and comfort of these magnificent songs from yesteryear give us dear and cherished memories. They are tenderly sung with joy by Johnny Cash. Three of the cuts are previously unreleased. They include My Ship Will Sail (1974), How Great Thou Art (1981), and It Is No Secret (What God Can Do) (1981).
       We should be thankful for this wonderful compilation of songs of the spirit because making a joyous noise unto the Lord is an everlasting thing. It’s nice to know that such songs, heartwarming in their simplicity, remain popular in the hearts of good people everywhere. Cash recorded many other sacred songs, and I hope that there will be a subsequent volume of such material. Perhaps they’ll reissue “We’ll Meet Again,” the lyrics of which were printed in Cash’s funeral program. (Joe Ross)



 
NORMAN BLAKE, NANCY BLAKE, TUT TAYLOR –
Shacktown Road
Plectrafone Records 80302-01256-2
P.O. Box 9187, Colorado Springs, CO. 80932-0187
EMAIL onthetrail@westernjubilee.com OR info@dualtone.com OR somagency@aol.com
www.westernjubilee.com OR www.somagency.com
Playing Time – 57:51
       SONGS - 1. Shacktown Road, 2. Kindred Spirit, 3. Guitar Rag, 4. No Not A Word, 5. The Old Dobro Man, 6. Worried Blues, 7. Tom Spalias Waltz, 8. Lizzie Hubbard Blues, 9. Going To Georgia, 10. Ode To Bacom Bascom, 11. On The Banks Of Lake Ponchatrain, 12. It Must Be Jelly, 13. The Tag Railroad Rag, 14. Running Wild, 15. Times Ain't Like They Used To Be, 16. End Of The World, 17. Steel Guitar Blues, 18. The Buffalo Left Yesterday
       Between Norman, Nancy, Tut and the three other musicians on this album (Uwe Kruger, Jens Kruger, Joel Landsberg), there are 18 different instruments played. There are many guitars and mandolins, most of them dating to the early 1900s. There are newer instruments hand crafted by Taylor’s son, Mark. There’s also a mandola, cello, banjo, bass and accordion at times. The liner notes are remiss in not providing better song-by-song credit