Folk and Roots - Folk Music Reviews, Live and CD Reviews

Bully Wee – 50 Channels (SLP008CD)

Is it really twenty years ago that Bully Wee disappeared from the folk circuit?
It certainly doesn’t seem so on the strength of this recording taken from a direct link straight to laptop computer from several concerts in 2006 - now how cool is that?
The music sounds as fresh as it did then and there are a few new additions to the repertoire including ‘The Last Letter Home’ an anti-war song which, as Fergus Feely rightly points out “…it’s pretty difficult to find a pro-war song…”. And there we have it ladies and gentlemen the old magic is still there. Ian Cutler’s dramatic fiddle playing provides crisp instrumentals, there’s some great singing and damn good crack. I’d forgotten some of the numbers such as ‘Love Will You Marry Me’ performed by Jim Yardley whilst the beautifully rounded tones of Colin Reece on his own compositions ‘Lady Lovibond’ and “The Wedding At Stanton Drew” make you wish the band were a more permanent fixture on the circuit today. Bully Wee are possibly also the only band to get away with making the Abba melody ‘Arrival’ sound so traditional - more so than Mike Oldfield’s treatment of it anyway! Although this may be in some ways a nostalgic trip down memory lane let’s not forget that there are some seriously good performances here far outstripping a lot of younger bands currently doing the rounds. Welcome back lads. Copies of the CD can be purchased from the website at www.iancutler.com

Pete Fyfe

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CHRIS WHITLEY & JEFF LANG - Dislocation Blues
www.chriswhitley.com OR www.jefflang.com.au
www.rounder.com
Playing Time - 62:52

Chris Whitley is no longer with us, and before his untimely passing from lung cancer in November 2005 he suggested that the title of this album be "Road Dog Shall Inherit the Earth." Chris and Jeff met in 1993 when Chris first toured Australia. When Chris returned in April 2005, this album was born in Melbourne. Whitley's swagger coupled with Lang's reedy tenor combine for a sensitive and inspired set. Their instrumental flavorings are rawboned with songs featuring National guitars, acoustic or electric guitar, lap steel, and fretless banjo. Nine of the twelve tracks are a little more raucous with a solid rhythm section with Grant Cummerford's bass and Ashley Davies' drums. "Underground" incorporates punk-folk elements of the Poques and Ramones.

Delivering a spare set of raw bluesy tunes, the duo opens with a supple remake of the traditional "Stagger Lee" as a nod to their roots. Plenty of originals will enthuse acoustic blues fans. Some like Whitley's title cut uses a recurring Turkish chumbush riff (played by Jeff) in a slightly unorthodox approach that continually asks "where can the heretic call home?" It's both poetic and prophetic. From Lang's pen, "Twelve Thousand Miles" is an odd but also reflective and thought-provoking love song inspired by a sweet girl's smile. "Rocket House" expresses blues sentiments of being disjointed, trapped, and being unable to turn back -- "From counterpane to stratosphere all conclusions fade to black, is there freedom from the hemisphere? Where there is no, no turning back." His message could be a reference to world in turmoil, where confusion and forces beyond our control direct our lives.

If there's a song that doesn't quite seem to work, it's their cover of Prince's "Forever in my Life," that sounds undone and treads a line between too mellow and sleepy. Two other covers, Dylan's "When I Paint My Masterpiece" and "Changing of the Guard" are arranged and sung with more emotion, meaning and personal attachment. The latter is an opaque, cynical and dark-sounding 7-minute song that has both Chris and Jeff singing verses until the last one that they sing in unison. In a foreboding fashion, Chris rushes his reference to "death" in the last verse.

Two months after recording "Dislocation Blues," Whitley was back in the studio recording "Reiter In" with The Bastard Club. In these albums produced during the last year of his life, he was singing with shortened breath and abbreviated lyrical phrasing. However, his haunting vocal interpretations are full of unique fiber and flair. "Dislocation Blues" fulfilled their passion and dreams for an intuitive and playful collaboration of two "road dogs" out to get their groove on. Lang's pathos in "Ravenswood" could very well carry a subconscious message in tribute to his friend Chris Whitley - "I knelt before him now, his song is sung, now his song is sung, we're just another town, no point slowing down." Lyrics for the originals are included in the CD jacket. In the bonus track (Robert Johnson's "Hellhound On My Trail"), Whitley's parting voice, resonant yet scarred by time, indicates he kept on moving and was defiant to the bitter end, and Jeff Lang joins in and promises to keep the blues fallin' down like hail.
Joe Ross

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MIRANDA LAMBERT - Kerosene
Sonynashville.com OR mirandalambert.com
Playing Time - 46:17

Chad Cromwell's pounding drums and Glenn Worf's throbbing bass lay the foundation and set the stage for Miranda Lambert's explosive music that has country, pop, rock and even a few bluegrass sensibilities. The talented and beautiful young lady was on the first season of USA Network's "Nashville Star" show when Buddy Jewell won. Now she's a Sony recording artist, and her successful singles, the upbeat "Me and Charlie Talking" and sad "Greyhound Bound For Nowhere" got much airplay and kept the buzz about Miranda buzzing. It just goes to show that she can cover many emotions in her strong vocalizing. Besides singing with style and verve, what's equally amazing is that she is an astonishing songwriter too. She wrote or co-wrote eleven of the twelve singles on "Kerosene," collaborating with one of her "Nashville Star" competitors (Travis Howard) on "Bring Me Down" and "Mama, I'm Alright." Howard wrote "I Can't Be Bothered," a two-stepping honky tonk tune that serves as an especially nice showcase for the steel and electric guitars. Although they didn't immediately take to each other, Howard and Lambert developed a bond after sitting around playing each other's songs on guitar. Miranda wrote "What About Georgia" about Howard in response song to his "Train Wreck," a less than flattering song written about Lambert.

Miranda Lambert is only 21, and she's taking her time to do things right. She understands that the road to stardom is a long, uphill climb that involves much hard work and some luck. While her music has pop leanings, I can appreciate that her musical interests also include blues, ballads and alt-country vibes. A taste of mandolin (Randy Scruggs), banjo (Mike Wrucke), harmonica, and even jaw harp sneak into some of the full mixes. That down-home feeling is what helps make "Me and Charlie Talking" a favorite cut on the project. It also has a simple, upbeat heartfelt message that tells a story about friends growing up. In true collaborative fashion, Miranda and her guitar-picking father took turns for 3 hours on a rainy night writing alternate lines for "Greyhound Bound for Nowhere" about a woman on a bus thinking about her lover and his girlfriend.

From Texas, Miranda was singing in talent shows by age 10. High school choir and an interest in the music of Mariah Carey led to a Tru-Valu Talent Search Contest in April, 2000 at age 16. She started playing guitar and writing songs by age 17. Her father taught her five guitar chords, and Miranda wrote ten songs. A small budget independent record and playing throughout Texas with her band, Texas Pride, got her thinking more and more about pursuing a music career. A couple songs landed on the Texas music charts. Nashville Star was next She first competed in Dallas, but didn't make the top 30 out of 250 participants. Lambert sang Shania Twain's "Still the One," a song not well-suited for her voice. Then she competed in Houston and won by singing "Crazy," along with two originals from her indie album, "Lyin' Here" and "Somebody Else." In the Nashville finals, she came in third with the judges commenting on her great look, sparkle, voice, and confidence.

"Kerosene" is some very combustible material that is sure to explode and launch Miranda Lambert's career to even greater heights. Light up Miranda's music, and watch her burst upon the country music scene.
Joe Ross

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BANSHEE IN THE KITCHEN - Even Hotter Water
www.bansheeinthekitchen.com OR www.sueduffyassociates.com
Playing Time - 57:31
1. Shoe, 2. Jewish Girl, 3. Bantry Marches, 4. Milltown, 5. Comb Sonja, 6. The Righteous Set, 7. The Aran Boat Song, 8. Mom's, 9. Bog Sligo, 10. March of the King of Laoise, 11. The Castaways, 12. Miss Gordon of Gight, 13. Ye Jacobites, 14. Merrily Kiss the Quaker

To do it right, Celtic music requires a certain amount of sassiness, a bit of impudence along with strong respect and joyful spirit. The three women of Banshee in the Kitchen know how to balance their audacity with reverence of the art form. "Merry abandon," they call it themselves. Or "banshee-fying" traditional tunes to impart a contemporary freshness to them. With plenty of personality, the result is a gripping performance that strikes gold. "Even Hotter Water" is the third album from this popular trio based in Bakersfield, Ca. Working through sets of dance tunes alternately with songs, Banshee in the Kitchen gives us music that is both memorable and impressionistic.

Brenda Hunter, Jill Egland and Mary Tulin are all multi-instrumentalists who are quite proficient and precise on their hammered dulcimer, fiddle, accordion, bodhran, flute, whistle, guitars and bouzouki. . "The Aran Boat Song" demonstrates how Hunter won the Natl. Hammered Dulcimer championship at Winfield, Ks. Using dampers on the strings is a technique that Brenda also employs for percussive effects at various points in the set such as on "Miss Gordon of Gight." Guests include Jeff Pekarek (bass), Michael Mercy (percussion) and Amelia Egland (additonal vocals on two tracks). The band's vocals are also immediately appealing, although they allocate a greater percentage of the nearly hourlong set to instrumental work. "Ye Jacobites by Name" is a popular song from Scotland's national bard and poet, Robbie Burns. The band also has a knack for arranging to interweave melodies, counter-melodies and harmonies into a patchwork of passionate, spine-tingling music. High fidelity on the album and professional production are also comendable. Mastering engineer Bernie Becker (Neil Diamond's personal engineer) did a fine job. Together since 2001, the Banshee in the Kitchen energy is contagious. Some Celtic projects are delivered with earnest effort, but with little personality. This is not the case on "Even Hotter Water," an album that gives us excellent musicianship, strong creative achievement and charismatic qualities.
Joe Ross

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Cherish The Ladies – A Star In The East (Big Mammy Records 0004)

Is it really that time of year? Well, it must be as Cherish The Ladies release another seasonal album. And what better way than a bright and breezy opening set of tunes “A Dash For The Presents/Joy To The World/Parnell’s March”.
You can just picture the girls sitting round an open fire and a Christmas tree much like a scene from “It’s A Wonderful Life” enjoying a good old fashioned session. Now joined by relative newcomer Michelle Burke who’s blessed with a gently lilting Irish brogue for a beautiful rendition of Robbie O’Connell’s “All On A Christmas Morning” and a sublime “First Noel” they certainly know how to weave a web of interlinking melodies led by the sparking whistle playing of Joannie Madden. Also bringing their instrumental talents to the banquet are Mary Coogan (guitar, mandolin & banjo), Roisin Dillon (fiddle), Mirella Murray (Accordion) and Kathleen Boyle on piano plus some special guests.
The ladies revitalise many standards including “Greensleeves”, “Deck The Halls” and that perennial favourite “Jingle Bells” and there’s even a couple of Country hoe-down tracks “Home On Time For Christmas” and “Rise Up Shepherd And Follow” (featuring Joannie on lead vocals) that surprisingly don’t sound out of place. So, an album that is full of bonhomie and one that I’m sure will prove popular with the whole family and not just those of a ‘folk music’ persuasion.
Further information from www.cherishtheladies.com

Pete Fyfe

CHERISH THE LADIES - Woman of the House
www.rounder.com OR www.cherishtheladies.com
Playing Time - 52:13

New to the Rounder Records label, Cherish the Ladies have a well-produced and highly-arranged selection of songs on "Woman of the House." The five women in the band also enlist the support of 14 artists in various guest instrumental and vocal capacities. Thus, the project creates many moods, and we listeners are richly rewarded. Cherish the Ladies is Joanie Madden (flute, whistles, harmony vocals), Heidi Talbot (lead vocals, bodhran), Mary Coogan (guitar, banjo, mandolin), Mirella Murray (accordion) and Roisin Dillon (fiddle). To accompany the splendid music, a 16-page CD booklet includes photos, lyrics and background notes about the songs.

Cherish the Ladies has been together for over twenty years, and their traditional Celtic music has built them a legion of fans. Their albums have been tightly crafted, with haunting vocals and striking instrumental accomplishment. The newest band member, Heidi Talbot has a magnetic voice that adds much to Cherish the Ladies' signature sound. Haunting contemporary Celtic accompaniment and vocal harmonies are another. Besides sung by Joanie Madden, the noteworthy harmonies are courtesy of Kate Rusby, Eddi Reader, Donna Long and Karen Matheson (of Capercaillie). Heidi, Karen and Eddi share the vocal spotlight on the oft-sung "Fair and Tender Ladies." Other key contributors are producer Phil Cunningham (piano, keys), Triona Ni Dhomhnaill (piano) and Donald Shaw (Wurlitzer organ).

With one foot firmly planted in tradition, this band also keeps one headed in the direction of the future. These innovative and forward thinkers demonstrate a playful spirit. The great reels at track one, as well as "The Hills of New Zealand" at track six were composed by Madden. Inspiration for the latter came from the hard work and research a Kiwi man showed to return her lost digital camera. The band's mixture of the familiar with their own creative artistry is commendable. Whether instrumental or vocal, CTL's music conveys powerful messages of struggle, hardship, bravery, love, kindness, compassion and benevolence. That's a real laundry list and a lot of ground to musically cover, but well-performed Celtic music creates this for me. And how better to end an album on an uplifting note of optimism than with four cheery reels.
CTL's debut on the Rounder label is a clear triumph with its striking music. CTL's poignant presentation is truly moving.
Joe Ross

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CEILIDH MINOGUE - self-titled www.ceilidhminogue.co.uk OR www.gregorlowrey.co.uk OR www.greentrax.com
Playing Time - 54:18

Ceilidh Minogue is a spirited Scottish ceilidh band that no doubt plays many weddings, parties, celebrations and other events. The experienced band can even call dances, if desired. The band members keep busy with many music-related projects from composing to arranging, and recording to touring. All tracks on their self-titled debut album are well-produced and have the core trio of Gregor Lowrey (accordion), Gavin Marwick (fiddle), and Bob Turner (piano, accordion). All but one track ("Greenhill") also have Al Morrow on drums and/or percussion. Gregor played with Black Eyed Biddy in 1988, toured the world with Davy Arthur, and was the featured box player in the hit Celtic dance show, Sheihallion, and performed with Canadian band, Clan Terra. Ceilidh Minogue's fiddler Gavin Marwick was a founding member of Iron Horse, works with various projects including Cantrip, has recorded extensively with many artists, and appeared with The Unusual Suspects. Pianist Bob Turner started his career on accordion but switched to piano, has worked with fiddler Bruce MacGregor and Neil Gow Ensemble. Drummer Big Al Morrow has played in various jazz, rock and traditional configurations. I like the way that Ceilidh Minogue brings varied music influences and experiences to the table in a collaborative fashion that has shaped their unique, overall sound. Their mission, apparently, is to simply provide alluring and inspiring instrumental dance music.

Guitarist Duncan Finlay plays on more than half of the selections. Other selections have guest musicians like Angus Wares (guitar, mandolin, tipple), an experienced Scot musician from Dundee who is comfortable playing many types of music and who has toured Lithuanian and Latvia with accordionist Lowrey. Wares appears on four tracks, and his tipple evokes a particularly nice tonal sentiment to the album's closer, "Waltzing Matilda." Other guests include Roy Percy (bass-3 tracks), John Burgess (sax-2 tracks), and Steven Hawkes (trumpet-2 tracks). If you are looking for the full ensemble of nine, spin the 6-minute "Para Handy in New York" medley.

Ceilidh Minogue has a healthy respect for tradition, but they are not just restating the past. Throughout this album, they display innovation with regard for the robust, strong tradition. "La Brass-thing" begins with the common "La Bastringue" but the medley evolves into high-flying creative delight. Some of their medleys have common dance tunes (e.g. Petronella, Charlie Hunter), but they then typically segue into novel territory. They also breathe new life into instrumental arrangements of two Robert Burns' songs. Of special note are some original tunes (e.g. New Moon, Blackford Two-Step, Seven Fit Tree, Greenhill, Glendevon, Ben's Frist Birthday, Back in Forth) that were composed by Marwick, Turner or Lowrey. The group is a multi-purpose one with great variety. If Ceilidh Minogue is playing at a party, you're sure that it will be standing room only, and that they will present music to please everyone in attendance.
Joe Ross

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DONNIE MUNRO - Heart of America: Across the Great Divide
www.greentrax.com OR www.footstompin.com/music/scottish_song/heart_of_america OR www.donniemunro.net
SONGS - 1. Heart of America, 2. Strangers to the Pine, 3. Winds Of Our Times, 4. A'Coiseachd Tràth (Walking Early), 5. Mo Chruinneag Bhòidheach (My beautiful young girl) 6. Where the Roses, 7. Cha Till (I will not return), 8. Raglan Road, 9. Mairead Òg, 10. Love will never die, 11. Harvest Wind, 12. October Song
Playing Time - 54:41

Eight of the twelve tracks on "Heart of America" span four minutes or longer. Donnie Munro's evocative mood pieces are carefully arranged to dynamically allow them to breathe with expressive vocals and rhythmically enticing instrumentation. Munro is a Scottish singer/songwriter whose thoughtful music has delicate, intimate or wistful poetic moments. Born on the Isle of Skye in 1953, Donnie's musical growth eventually led to him becoming frontman for the band, Runrig, until 1997. Runrig presented much Gaelic and Highland dance music, but they also incorporated influences from rock and other genres. Donnie's final album with Runrig was the 1995 release, "Mara."

In more recent times, Munro's been touring extensively and has built a large legion of fans for his Donnie Munro Band. Songs on this new album (his third as a soloist but first in four years) focus on new beginnings, hopes and expectations. The title track was written after a journey he took with his family through the northeastern U.S. and to Ellis Island. It's nice for an album to present as much emphasis on the songs as the singer.

Donnie sings in a warm, conversational style. Of special note are a few numbers in Gaelic (with translations provided in the CD's jacket). He continues his work with Sabhal Mòr Ostaig (the Gaelic college on Skye), to support and preserve his native language and culture. Of course, the themes of migration, displacement, travel, hardship and opportunity are very well documented in music from Celtic lands. So what's Donnie's hook? A healthy dose of original material indicates that he can be both stirred and stirring. Donnie's eloquence may be best realized in such pieces as 'Winds of Our Time," "Where the Roses," and "Love Will Never Die." His band also has an expressive signature sound, with somewhat of a dream-infused groove.

Besides his singing and playing acoustic guitar, The Donnie Munro Band has Foss Paterson (keys), Chaz Stewart (guitar), Morph Dobie (guitar), Jim Drummond (drums), Dougie Coulter (bass), and Chris Harley (vocals). Paterson is also known for his arranging and composing, but he does not apparently wear those hats in Donnie's band. He has an album out entitled "Then Came The Wheel." A foremost and highly sought after guitarist (actually multi-instrumentalist) in Scotland, Chaz Stewart released a solo album called "The Angel Falls" in 2001 and played with Scottish band Cliar until 2002. Chris Harley and Donnie Munro have worked together often over the years, as Chris had produced most of the Runrig albums as well as Donnie's latest releases.

"Heart of America" also features some excellent guest Scottish musicians -- Blair Douglas (accordion), Richard Macintyre (guitar), Duncan Chisholm (fiddle), Fraser Fifield (sax), Vivien Scotson (vocals), Donald "Doc" Livingstone (vocals). Also born and raised on the Isle of Skye, Douglas was a founder member of the bands Runrig, Mactalla and Cliar, and he has released many highly-acclaimed recordings. His self-penned "Strangers to the Pine" on Donnie's new album praises both the emigrants and their homeland on Skye. "The blood runs deep and the ties they bind." A up-and-coming singer/songwriter in her 20s, Vivien Scotson's beautiful voice can be heard in about five of the tracks on "Heart of America."

"Heart of America" is a significant achievement for Skyeman Donnie Munro. It's a splendid thematic set full of diversity, imagination and encouragement. With respect for both traditional and contemporary idioms, Donnie Munro builds a musical bridge from Gaelic culture, across the waves to opportunistic shorelines.
Joe Ross

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GREAT BIG SEA - The Hard and the Easy
www.rounder.com OR www.greatbigsea.com
Playing Time - 41:16
SONGS - 1. Come and I Will Sing You (The Twelve Apostles), 2. Old Polina, 3. The River Driver, 4. The Mermaid, 5. Captain Kidd, 6. Graceful & Charming (Sweet Forget-Me-Not), 7. Concerning Charlie Horse, 8. Harbour LeCou, 9. Tishialuk Girls Set, 10. French Shore, 11. Cod Liver Oil, 12. Tickle Cove Pond

It was about twenty years ago that some students studying English and folklore met at Memorial University in St. John's, Newfoundland. Their bands like Newfoundland Republican Army and Rankin Street eventually evolved in 1993 into Great Big Sea with multi-instrumentalists Alan Doyle, Séan McCann, Bob Hallett and Darrell Power. Darrell has since left the group, replaced by Toronto-area native Murray Foster. From Pictou County, Kris MacFarlane is the fifth member of Great Big Sea and plays drums and percussion. During the band's 15 years, they've produced nine albums that blend traditional and contemporary approaches to folk music, always with copious amount of imagery and emotional sentiment. This release, however, takes the new approach of being all-acoustic.

With a seafaring theme, many of their songs on "The Hard and the Easy" immediately draw you in for interaction with humorous lyrics and catchy melodies. Arrangements are given rousing pub-song presentation, and listeners who like songs about the flowing bowl in a more relaxed style might actually prefer to explore the material of a duo like William Pint and Felicia Dale. "Harbour Lecou" and "Cod Liver Oil" are the types of stories that they can so evocatively tell. Great Big Sea's lineup includes six guests on 5-string banjo, harmonica, and vocals. It would be hard to not sing along on "Captain Kidd," which features Fergus O'Byrne's banjo. It might've been rather interesting to invite a guest to play some hurdy gurdy on a bounding tune like this. The down-home, earthy side of the band, along with a bit of bawdiness, is best captured in "The Mermaid," a song I've heard entertainers like Alex Beaton cover.

Frank Maher's harmonica provides expressive fill for the sentimental ballad, "Graceful & Charming (Sweet Forget-Me-Not)." It's a bit of an extreme segue to the next cut, "Concerning Charlie Horse," which is back into a pub-song mode. The liner notes don't identify exactly who is singing on which cuts. Great Big Sea's instrumental prowess is best captured in "Tishialuk Girls Set" that begins with low whistle before making a genesis into an accordion and fiddle-driven dance music and song. If one is more interested in their original material, look for their 2004 album, "Something Beautiful." Somewhat of a concept album. "The Hard and the Easy" captures the joy and delight of their region's unique musical canon.

Besides having obvious personal affection for these songs, the band members also know that the playful tunes are solid crowd pleasers. There are plenty of references to history, life, labor and love. One would be hard-pressed to not be pleased with renditions of the tongue-twisting "Come and I Will Sing You," the somber "River Driver," or the poignant "Tickle Cove Pond." The album's title comes from words mentioned in the latter, part ballad and part chantey that tells the story of falling through ice and losing a trusted horse. "The hard and the easy, we take as they come …" epitomizes the band's undaunted attitude about success and perseverance. In addition, a DVD that comes with the album shows Alan, Bob and Sean talking about their songs, reflecting on their region's musical traditions, and singing the songs in relaxed, informal fashion.
Joe Ross

PATTY LOVELESS - Dreamin' my Dreams
www.sonynashville.com OR www.PattyLoveless.com
Playing Time - 49:09
SONGS - Keep Your Distance, Old Soul, When Being Who You Are Is Not Enough, Nobody Here by That Name, Same Kind of Crazy, Everything But the Words, Dreaming My Dreams with You, On the Verge of Tears, Never Ending Song of Love, Big Chance, My Old Friend the Blues, When I Reach the Place I'm Going

With plenty of good new tunes from happening songwriters like Steve Earle, Jim Lauderdale, Delbert McClinton, and Allen Reynolds, the emotional and adventurous Patty Loveless has another winner with "Dreamin' my Dreams." Anyone remember when the young country singer from Kentucky came to Nashville at age 14? She replaced her cousin, Loretta Lynn, as the singer for the Wilburn Brothers. Her association with songwriter Steve Earle dates back to at least 1988 when she tapped the songwriter for material on her monumental "If My Heart Had Windows" release. Some other great albums have followed over the years, and she also successfully returned to her mountain roots with bluegrass material on the 2001 release, "Mountain Soul." "Dreamin' My Dreams" has hints of both. "Same Kind of Crazy" is rockin' country. "When Being Who You are is Not Enough" is pure acoustic beauty. The weight of the world might turn a young girl's heart to an "Old Soul," but Patty's takes on love and life prove that she'sstill got plenty of young soul.

Her bass-playing husband and producer, Emory Gordy, Jr., is a constant throughout most of the album. But when Patty wants to electrify and rock, she calls on guys like Albert Lee and Guthrie Trapp (electric guitars), Owen Hale (drums), and Russ Pahl (steel guitar). At the other end of moody spectrum, we're treated to acousticians like Rob Ickes (dobro), Ronnie McCoury (mandolin, mandola), Bryan Sutton (guitar, banjo), and Stuart Duncan and Deanie Richardson (fiddles).

Patty's songs also cover another spectrum from happiness ("Big Chance") to suffering ("On the Verge of Tears"). "Everything but the Words" is a slow crooner that is an interesting musical paradox - the lyrics are crafted in such a way that she truly does have the necessary words, at least for a hit song. Another splendid song co-written by the same pair (Jim Lauderdale and Leslie Satcher) is "When Being Who You are is Not Enough" which begins with Duncan's droning fiddle and McCoury's lilting mandola. While there are some wonderful backup vocalists on the album, Emmylou Harris and Virgie Lee add some powerful pleasure to the choruses of this number. In a duo with Dwight Yoakam, Loveless gives us a bouncy and tasteful bluegrass rendition of "Never Ending Song of Love." Her rustic soul is best captured in humorous tale of mountain life in "Big Chance," a cute story about trying to find the right boy and getting the parents' permission to marry. A reflective "When I Reach the Place I'm Going," closes with album with her own thoughts about finding Neverland in a tribute to the memory of her mother-in-law. With extraordinary voice, full of heartfelt emotion and passion, Patty Loveless proves that she's among the top female country singers of all time.
Joe Ross

West Ocean String Quartet – The Guiding Moon (West Ocean Records WORCD101)

You come to a point in your life when sometimes all you want to do is put your feet up and relax listening to some music by a string quartet. I’ve certainly reached that point and what better way to do it than listen to this recording. For me, what sets the West Ocean apart from others of a similar ilk is their unique take on Irish and classical music. Featuring the skills of composer/cellist Neil Martin with Seamus McGuire & Niamh Crowley-Fitzpatrick (violins) and Kenneth Rice on Viola/Violin to cap it all they are joined by the undoubted talents of guest musician Matt Molloy on flute. In honour of Matt, Neil wrote the title track “The Guiding Moon” (a suite in three parts) inspired by Molloy’s passion for boats and a particularly rewarding piece of writing it proves to be. From the slightly apprehensive setting off to the tranquillity of a restful afternoon and the conclusion of three gentle jigs as the boat heads happily for shore the picture in your mind is complete. In much the same way that film scores - I’m thinking of those beautiful old movies by Ealing and Disney – were constructed to highlight panoramic views of Scottish hillsides strewn with heather this recording achieves a similar objective. Unlike other string quartets I’ve heard recently, their music is not pretentious or pre-occupied with trying to see how clever they can be and the album is stronger for it. If you’re looking for some classy music with that ‘folk’ fringe to impress your friends look no further.
Check out the website at www.wosq.com

Pete Fyfe

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Donal Clancy – Close To Home (Compass Records 4438)

If there is such a thing as a guilty pleasure, then mine would be to listen to a traditional melody performed with precision and with a bit of life on the steel strung guitar. Years ago when I was first being introduced to Celtic music I encountered the flailing digits of Dick Gaughan in Five Hand Reel. OK it made me want to go out and immediately buy his album “Coppers & Brass” but I was somehow left thinking a little cheated - as if there was something missing – looking back on it Gaughan was drinking heavily at the time and this probably marred his performance. Perhaps it was the frantic style in which he seemed to hack at the instrument leaving the tunes soulless and more a case of painting by numbers. Another (nearly) forgotten hero who had mastered the art of plectrum picking was Frank Simon of Bully Wee - check out the album The Enchanted Lady. But it wasn’t until, by chance, I came across the more subtle nuances of Arty McGlynn that I felt I had reached my own personal nirvana. Now, my interest has been re-kindled with this debut album from Donal Clancy. It has the energy and passion of a man who has seriously got to grips with the intricacies and beauty of these centuries’ old melodies and although I’m sure that he’s well capable of it, there isn’t a self-composed tune to impede the flow. You can tell he has an understanding and empathy that runs deep to the core of the Celt and with tunes such as O’Carolan’s “Lord Inchiquin”, “Sonny Brogan’s” and the reel/hornpipe “Farewell to Connaught” he has learnt the art of balancing that fine line between simplicity and excess. Every note counts and when you become as critical as I have over the years it’s nice to come across an album this refreshing. If you are a guitarist who is looking to extend your repertoire whilst indulging in some seriously good playing then this recording couldn’t come more highly recommended. Visit the website at www.donalclancy.com

Pete Fyfe

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Moya Brennan – Signature (Furious Records FIERCD31 ) 27.10.06

Ever since the ‘glory’ days of Harry’s Theme and Robin the Hooded Man the mercurial tones of Moya Brennan have been etched into the minds of millions. Not surprising really for as her rise from the seminal folk group Clannad reached fever pitch she decided to opt for a career outside the family group. For many folk music enthusiasts it was akin to a divorce and although she didn’t make a dramatic move, this side-step embracing Christian leanings found a whole new audience. Being Brennan’s seventh solo album it’s very much a case of if it ain’t broke don’t fix it and since those days of ‘Robin’, the slick (and I mean that without being derogatory) construction of layered vocals enhanced by gentle acoustic instruments such as guitar, bouzouki and harp combined with lush string arrangements and jazz tinged Uilleann pipes and saxophones there is a quality to the music that becomes positively mesmerising. Yes…I suppose ‘cool’ would more or less sum up the feel if you were to present it to the general public even though that is probably a bit of a cliché. The opening track “Purple Haze” sets the scene with a Bruce Hornsby-ish dramatic rippling piano effect underpinned by a percussive beat whilst her style of lyric writing isn’t easy going if you’re more used to what she did in her early Clannad days indeed, there’s only one traditional track on the whole recording and that’s in Gaelic. That’s not to say the writing’s bad – it’s just…different. Unlike many of my friends I don’t count myself as being precious when it comes to the music I enjoy and I suppose my eclectic tastes (which can cross from Status Quo and Santana to the Spinners in one sitting!) are a bit hard for many to comprehend I can’t see anyone not liking this album as it creates a palate of aural pleasure that is both stylish and well executed. If you’re looking to get seriously chilled out buy this album! I play it all the time in the car when travelling from gigs and it always de-stresses me – and believe me, that’s no mean feat.
More details from the website at www.moyabrennan.com

Pete Fyfe

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Bob Fox – The Blast (Topic Records TSCD555)

The last album Bob released featured a ‘backing band’ but on this starkly contrasting recording it’s just the man himself accompanied by guitar, produced by John Tams. Fox is without doubt one of the finest singers in Britain and for those of us that have followed his career it will come as no surprise that the accolades will come thick and fast. From a technical perspective his guitar playing knows no bounds and at times is quite astonishing filling gaps and enhancing every syllable as if strategically placed like a soldier on military manoeuvre. That’s not to say the music’s soulless, far from it in fact for this is a thinking man’s musician who makes every note count. Take for instance Ed Pickford’s bitter lyric damning the government for the pit closures through his song “One Miner’s Life”. You can just feel the angst and resentment pouring out and the dramatic punctuation lends much to the tension of the piece enhanced by the almost eerie unison double tracked vocal in the chorus. On another track - for those old enough to remember - some years ago Bob, along with Stu Luckley successfully coupled two fishing songs together on their ground breaking album Wish We Never Had Parted and here with “The Bonny Ship The Diamond” and Eric Bogle’s “The Song Of The Whale” the whole process is repeated. The co-joined lyrics offer a platform to those for and against an industry that is still controversial today. So, thought provoking and compelling listening and although indulgence isn’t a word that readily springs to mind when referring to a Box Fox recording I hope that many more artists take note of how it should be done.
More details from www.bobfoxmusic.com

Pete Fyfe

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The Dubliners – Fairfield Halls, Croydon (24.10.06)

Well, it was good to see the bottom half of the Fairfield Halls comfortably full for a return visit by the iconic Dubliners and judging from the nature of the good humoured audience who had assembled just before the concert in the bar to quaff gallons of the black stuff they expected a grand night out. Revered by many and treated as royalty by others this quintet of affable musicians certainly had the crowd going from the opening notes of a wild and reckless set of tunes although, perhaps it was just me but the frenetic pace of the melodies put me in mind more of The Fureys on heat than the slightly more sedate speed I used to remember The Dubs performed in my youth. Still, the first song of the evening “Banks Of The Roses” was more settled and the ensuing ‘best of…’ including “Dublin in the rare auld times”, “Spanish Lady” and “Black Velvet Band” had everyone joining in the choruses. This got me to reminiscing as to how much I used to enjoy the old school sing-along ethic also utilised by The Spinners and The Corries as well that if you didn’t know the chorus at the beginning you certainly did by the end bringing a grin as wide as the proverbial Cheshire Cat to one happy journalist. My only disappointment to the proceedings was Barney McKenna’s misplaced (in my opinion) ‘sending up’ of his own countrymen. Perhaps once or twice at most would have been just about acceptable but not throughout the night. That aside, the musicianship of fiddler/whistle player John Sheahan was to be applauded and so were the three main vocalists Sean Cannon, Patsy Watchorn and Eamonn Campbell. Having said that, the song of the evening had to be Barney’s rendition of the traditional ballad “I Wish I Had Someone to Love Me” – I’d swear there wasn’t a dry eye in the house!

Pete Fyfe

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Kate Bramley – Little Canaan (Tantobie Records TRRCD108)

Recognised primarily as a member of Jez Lowe’s Bad Pennies, Kate Bramley has gained a reputation for her strong fiddle playing and vocal prowess. On this album Bramley displays her not inconsiderable skills as a songwriter particularly playing to her strengths in the traditional idiom. You’ll probably get more of an idea of what I mean by casting your eyes over titles such as “Little Canaan”, “Tahunanui Bay” and “Carters Fair” fine songs that would not be out of place at any Bad Pennies concert. Drawing on her Cornish background Kate provides a link to the mines of California on the track “Trevithick And The Mine” and with the Apalachian style (clawhammer) banjo and harmonica backing you can almost taste the stale air. On another track, a neat re-working of the melody “All Around The World” transposing it from a reel into an old-timey waltz and coupling it with the Newfoundland ballad “Hard Times” there’s a certain quality to the music that will leave you with a broad grin especially when you recognise the tune. With contributions from amongst others the majestically powerful James Keelaghan and produced by Mr Lowe this is a recording to savour and one that will blossom -much like a certain apple.
More details are available from Kate’s website at www.katebramley.com

Pete Fyfe

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Billy Mitchell & Bob Fox – Back On City Road (Own Label)

What is it about Billy Mitchell and Bob Fox that makes you wish everyone in the world were a Geordie? On the strength of this striking album it’s the feeling of camaraderie that is inherent in each song and the obvious good-humour that runs like a seam of ‘black diamonds’ throughout the recording. Starting with “The Shoemakker” (surely a spelling mistook) followed by “The Pitman And The Blackin’” from their region of God’s own country it establishes the duo’s credentials for the traditional personality inherent from their North-East up bringing. In keeping with the locality, the inclusion of Mark Knopfler’s far from cheesy “Sailing To Philadelphia” and the anthemic “Why Aye Man” (the theme from Auf Widersen Pet) are prime examples of being proud enough to wear your heritage firmly on your sleeve. As part of their established sound Billy more often than not utilises his trusty Guild 12-string guitar adding a resonant ringing depth in much the same way Celtic bands use Bouzouki. It’s a glorious sound enhanced by the mandolin and guitar interplay on the only tune set “Off To Kefalonia/Spanish Misfortune” complete with minor key ending so reminiscent of a performance by the much missed Jack The Lad. Personally speaking my CD collection would be incomplete without the performances of these two guys and a damn sight less colourful. For those of us that have had the pleasure of listening to Bob and Bill over the years this album will prove a must purchase item. Here’s to the next one! Contact www.billymitchell.co.uk or www.bobfoxmusic.com Pete Fyfe

Billy Mitchell & Bob Fox – 5 Star B&B (Own Label)

Blimey these Geordie lads believe working at break-neck speed! It was only in October 2006 that I was discussing with Billy and Bob that they should record an album together. Well, blow me down if they haven’t succeeded and, as you’d expect the quality is exceptional. On the back of a twenty-date tour together pulling what should have been two separate performances culminating with the pair playing together for a 20 minute set they were already joining each other on over 90% of the evening. Not bad going I think you’d agree. Basically a ‘best of…’ this recording provides the listener with a veritable smorgasbord including ‘Rocking Chair’, ‘Dance To Your Daddy’ topped nicely with the tune ‘The Spanish Cloak’, Jimmy Nail’s tremendous nostalgic view of the Tyne ‘Big River’, ‘Sally Wheatley’ and Billy’s ‘The Devil’s Ground’. The often energetic rhythmic drive that provides the backing is so well placed that in many ways you never want to hear another tired standard such as the evocative ‘Galway Shawl’ unless it has been given the B&B treatment and just listen to the audience singing their hearts out. Alternating the verses vocally on the final song ‘Monday, Monday’ you’d think it was written especially for the duo and you’ll wind up thanking God that the McDonald Brothers never got to perform it on the X-Factor. Make no mistake, Billy and Bob’s vocal performances aren’t so much good as towering and while folk music has ambassadors like these let’s count ourselves lucky that they have decided to settle in our camp. A round of applause should also go to Ron Angus who captured that real essence of a ‘live’ performance. What more do I need to say? Get a copy of the album at the earliest opportunity, you won’t be disappointed.
Further details from www.bobfoxmusic.com and www.billymitchell.co.uk

Pete Fyfe

Bob Fox & Billy Mitchell – The Maltings, Farnham (18.10.06)

I’ve just witnessed my favourite gig this year and who would doubt me when I say that the protagonists are those likely lads Bob Fox & Billy Mitchell. You know you’re guaranteed a good night out if you’re lucky enough to see either as a solo performer but working as a duo, they bounce off each other as if they’d been playing together for years. The surprise is that the two genial Geordies have only completed five days of a 19 date tour and, although originally intending to join each other for the last twenty minutes of the show they are both on stage most of the evening. Utilising their towering vocals and accompanying themselves with astonishing skill on a variety of stringed instruments (guitars, bouzouki and mandolin) they could hold a master class in the art of ‘live’ entertainment. Instrumental expertise aside, the songs come thick and fast with standards such as “The Galway Shawl” and “Sally Wheatley” rubbing shoulders with Mitchell’s own self-penned “The Devil’s Ground”. Talking of North-East songs, it’s interesting to note that the power of a good TV campaign can influence a much wider audience especially the recent Young’s Seafood advert featuring the emotive “When the Boat Comes In” performed (in this case) with such eloquence by Fox. The banter between the two may at times have been unrehearsed but at no point did the audience feel excluded from the joke and in a room that was particularly difficult to utilise a PA Ben (the engineer) did a sterling job. Bob & Billy are planning to tour in April of next year and by that time they hope to have a live recording.
If you’re looking for a fun night out with amazing musicianship and vocals check out either website at www.billymitchell.co.uk or www.bobfoxmusic.com

Pete Fyfe

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The Working Party – Live At The Mill (TWPPCLCD1)

Not a bad idea as it goes – get a bunch of like minded musicians together for the ‘crack’ and some serious tuition to be released as downloadable visual tutor. Also, while we’re at it, let’s record an intimate concert to demonstrate how good we are as a band. Now maybe I’ve watched too many Cliff Richard movies for most peoples’ tastes but you get the drift. Mind you, the quality of the musicianship on this recording can’t be faulted especially when the ‘band’ consists of Simon Mayor (mandolin), Troy Donockley (Uilleann Pipes), Chris Parkinson (Piano Accordion), Maartin Allcock (bouzar & vocals) and Chris Leslie (fiddle & vocals). OK, so I can hear you shouting from the back “…not another folk supergroup…” but then again, why not?
Judging by the sets of tunes on this album, they’ve all been there, seen it, done it but at the end of the day I’m sure everyone had a ball and to me, that’s what music should be – entertainment with sparking performances. The great and the good are featured here including O’Carolan’s “Lord Inchiquin/Sigh Beag Sigh Mor”, Chris Leslie’s vocal on “I Wandered By A Brookside” and the final encore “The Spanish Cloak Set” that would put many a folk dance band to shame. The producer (who put it all together) Martin Bell and band obviously had a great time…so did the audience…and also this reviewer!
More details from the website at www.theworkingparty.co.uk

Pete Fyfe

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Simon Mayor with Hilary James – Music From A Small Island (Acoustic Records – CDAC5 055)

I’m reviewing this latest CD from Simon and Hilary wondering at the majesty of the mandolin and just how suitable it is in a ‘mock’ Tudor style. In the hands of a ‘British’ troubadour such as Mr Mayor particularly on the track “Rosebud In June” there is the refined beauty that you would expect and plenty more besides. His arranging skills are without doubt some of the most thought provoking and intricately balanced pieces of musicianship you will experience and like other ‘folk’ artists of his ilk such as Alistair Anderson, Andy Irvine and Chris Newman his recordings should be required listening for any scholars of one of the most delicate instruments of the acoustic ‘string’ family. The addition of Hilary’s beautiful soaring vocals would give Maddy Prior something to think about and if I were to admit it I’d say it’s probably the most scintillating track I’ll hear this year! Avoiding the stereotypes of a selection of Irish tunes, he opts for some Scottish melodies of which Scott Skinner’s “The Laird Of Drumblaire” shows his guitar playing is as gifted as his mandolin performance and the inclusion of “The Barren Rocks Of Aden” which I recognise as the street kids song “Ma, ma would you buy me a banana?” he doesn’t slip up once. This is the kind of recording that were it a piece of art it would happily hang alongside a Picasso. I can’t think of a finer purveyor of the mandolin and with only a couple of our American cousins to nearly rival him, thank goodness he’s British - Cushty!
For copies of the CD contact www.acousticsrecords.co.uk

Pete Fyfe

Simon Mayor & The Mandolinquents – Dance Of The Comedians (Acoustics Records CDACS 056)

Prepare to be enchanted, entertained and above all astonished by the mellow tones and dexterity of the Mandoliquents captured live – that’s right…live! In all their glory the quartet of Simon Mayor, Hilary James, Richard Collins and Gerald Garcia are some of the finest exponents of stringed instruments to be found in these fair isles of ours. Also, with a voice surely inherited from an angel Hilary performs with a beautiful clarity that brushes aside any pretentiousness inherited by so many divas. In many ways this is a band ‘covers’ album including as it does many popular standards such as “Lullaby Of Birdland”, “Loch Lomond” and the opening track “Pizzicato”. This album is a dazzling display of musicianship that will leave you open-mouthed in incredulous silence.
www.acousticsrecords.co.uk

Pete Fyfe

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TONYA LOWMAN – It’s Gonna Take A Long Time
www.TonyaLowman.com
Playing Time – 24:56
SONGS - Here In My Little Room, Old Forgotten Homeplace, Clarence's Song, The Runaway Train, Song For Mama, Whatcha Wanna Do, It's Going Take A Long Time, Foothills of Caroline, Nail Scarred Hands, When I Get Home

Ten songs written and sung by Tonya Lowman, from North Carolina, are a nice showcase of her songwriting abilities, spirited vocalizing and thoughtful messages. Tonya’s inspiration comes from her own and others’ experiences, and she admits that gospel tunes (Nail Scarred Hands, When I Get Home) are the easiest for her to compose. She listens to many artists and types of music so it’s not surprising that the opener, “Here In My Little Room,” has a bluesy feeling to it.

Lean arrangements bring each song in at about 2 minutes apiece, and the album’s total playing time amounts to just under 25 minutes. While I personally like to see more instrumental breaks, this more raw-boned approach makes the songs accessible and emphasizes the lyrics. “The Runaway Train,” for example, would’ve been a prime candidate for some locomotive string interplay between verses. Tonya’s formidable voice has plenty of confidence as she sings with an all-star ensemble of David Johnson (mandolin, fiddle), Eric Ellis (banjo), Kenny Smith (guitar), and Mark Fain (bass). There’s great instrumental prowess demonstrated in “It’s Gonna Take a Long Time.” For even more poignancy and passion, it might have been nice to incorporate more of Johnson’s splendid unpretentious fiddle that appears in four pieces (“Nail Scarred Hands,” “When I Get Home,” “Old Forgotten Homeplace,” and “The Runaway Train”).

“Song For Mama” is really about Lowman’s grandmother, a little woman who worked hard, dressed simple, prayed with devotion, raised kids, and was always very content with her lifestyle. Lowman asks, “Ain’t it funny that the world didn’t stop when momma had to go?” The inspiration for “Old Forgotten Homeplace” came to Tonya when she passed an old homesite on the Old Johns River Road. The remains of an old fireplace sparked her imagination about the settler who once called that place home and worked the fields. Lowman also has her songs of rambling and getting out of town. “The Runaway Train” is her only train song to date, but the message is really that she’s ready to leave the boy miles away and “ride away on a runaway train.” Written out of sheer frustration, “Whatcha Wanna Do” successfully captures Tonya’s feelings when there were more people worried about what she was doing than she was herself. She calls it her quirky “no commitments, no nothing, be free, nobody worrying ‘bout me song.”

Tonya Lowman and her accompanists convey much enthusiasm and spark. She has penned some enchanting songs, and some have good potential as covers for professional touring bluegrass groups in search of some new, intriguing material.
Joe Ross

Marianne Segal and Greame Taylor!

What a wonderful evening…

…with Marianne Segal and Greame Taylor!

Have you ever simply sat to hear music, and did it make you travel into your youth?

This is how you might have felt when listening to the concert of Marianne Segal and Greame Taylor on Friday, 15 September 2006, at Weiermatteli.

You remember a tender summer evening, in the countryside. Or at an open air concert. You remember a stolen kiss. So the voices and the guitars of Marianne and Greame are startlingly intimate – you can practically feel the breath of the sixties and seventies on your ear. The sweet, folk- and pop-flavoured melodies, coupled with the warm tones of these two voices and the guitars, are enough to make an audience blush.

Marianne’s pure voice and the remarkable musicianship of Greame on the guitar have give me a way to dive into my memory. After the concert I emerged with the highest feelings of joy from their music.

The songs are so nice, so beautiful, full of fine stories.

What a great history Marianne her talent, her fine feelings and her charm come together through her years of experience. You remember: Jade – Fly On Strangewings, the fantastic album of one of the most popular UK folk/rock bands of the early 1970's. Along with Fairport Convention's Leige and Leaf.

. Marianne and Greame are some of the great musicians. They are authentic and make no populist concessions, they remain faithful for their category of music.

Thus these two great musicians offered great music on this Friday evening in the family atmosphere of Weiermatteli. This wonderful concert, with such accomplished vocalists and guitar players, they are: was world-class, crisp and tight. Marianne and Greame deliver each, and every song, with all the confidence and conviction of the long-time ‘veterans’. The remarkable high quality of the live performance confirmed this absolutely.

It was definitely an essential and wonderful evening for any music fan. Thanks.

Urs Kneubuehl

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Swarb’s Lazarus – Live & Kicking (Squiggle Records - Squiggle02)

Ah, rising from the ashes is a rare feat these days and although perhaps not quite literally it is a joy hearing Swarb committing himself to disk and live performance once again. Of course, surrounding oneself with the company of two accomplished musicians the calibre of Maartin Allcock and Kevin Dempsey helps. This is a sparkling recording full of those catchy ‘capers’ (that’s 2/4 time to the uninitiated) that first established Dave in his days with Fairport and there’s plenty of that lazy, almost drunken loutishness in the performance that so characterised his excursions into folk rock. Some years ago I used to play the song “I Know My Love” with the band Collaboration but hadn’t made the connection with the North East assuming it was Irish in origin. This track is given fresh appeal with Kevin’s vocals (reminiscent for some reason of ex Dando Shaft partner Martin Jenkin’s) and some nice guitar work to boot. The addition of the informed sleeve-notes including the proper titles to the “Dirty Linen” set etc makes for interesting reading ending years of speculation over what the individual tunes were called whilst the late Cyril Tawney’s “Grey Funnel Line” sung by Maart is a welcome respite from the frantic approach taken to a majority of the album but, as I say, you can’t fault the musicianship of all involved. By the look of the photographs (taken by the wonderful Bryan Ledgard) the lads all had a great time putting the album together and their obvious enthusiasm (particularly on “The Brilliancy Medley and The Cherokee Shuffle”) is both entertaining and yes, quite astonishing at times.
Further info from: www.swarbslazarus.com

Pete Fyfe

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ANDY RAU BAND – Higher Ground
Andy@andyrauband.com
www.andyrauband.com
Playing Time – 54:34

The Andy Rau Band celebrates 20 years in existence this year (2006), and “Higher Ground” is their fifth album. Shortly after being introduced to their music in the early 1990s, I invited them to Oregon to perform at the Myrtlegrass Festival. They were a nice addition to the lineup to illustrate the many brands of bluegrass and related music. I have great respect for musicians who live in the future, mavericks like Rau who write their own music and follow their own muse. A banjo-player, singer and songwriter, Andy Rau creates modernistic music. Because they don’t have Appalachian roots, these musicians use bluegrass instruments to create their own enchanting and cohesive repertoire with folk, rock and pop influences. One immediately notices that the 5-string plays a more subordinate and supporting role than it would in driving bluegrass music. Guitar and mandolin also complement the lyrical messages, and there is more of the former than latter.

Some of Andy’s songs (e.g. “’Til I Found You”) could also use percussion, saxophone or fiddle in places for added embellishment. It’s probably just my personal preference for a little more in the instrumental department. Andy Rau Band restrains itself somewhat, walking the fine line between pleasing and alienating their fans and promoters, yet also wanting to evolve with their sound. I’d like to see them take things a bit further on their next album. Knowing no sideboards, they have great opportunity to explore and innovate. Using Scruggs tuners, the instrumental “Warren’s Ride” is a driving number that would’ve really hit me like an express train with a few more instruments featured. Of special note on this project is the strong duet, “The Best I’ve Found,” sung with Elaine Upton.

The Andy Rau Band is Andy Rau (banjo, guitar, lead vocals), Les Johnson (guitar, vocals), Evan Anderson (mandolin, vocals), and George Boravich (bass, vocals). Andy likes to address the themes of nostalgia, broken promises, aging, mistreatment, rejection and deception. The bridge in “It Didn’t Surprise Me” states that “Every time I walk in these shoes, I feel like I was born to lose. Every time I open my heart, someone reaches in and tears it apart.” There are times when Andy’s songwriting reminds me of Richard Shindell, Scott Miller or maybe even Tom Petty. I’d like to see what a rock band could do with some of his songs.

Whether crazy, troubled or sane, “Suzie” is certainly a wild one who has an affectionate place in Andy’s heart. It’s the only track that includes Les Johnson’s drums. The title cut asks, “If the river's overflowing, wouldn't you move to higher ground? That's you to me … You're my higher ground.” Besides his interesting lyrics, I like the rhythms and dynamics that the band incorporates. The resourceful Andy Rau Band has its own identity with an acoustic style built primarily to interpret Rau’s thoughtful songs. And they’re genuine.
Joe Ross

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BOB WILLS and his TEXAS PLAYBOYS (4-CD set in the Legends of Country Music series)
www.legacyrecordings.com
legacymediarelations@sonybmg.com

Born to a poor family in Limestone County, Texas, Bob Wills (the undisputed “King of Western Swing”) has become synonymous with that style of music. In 2006, this 4-disc release in Columbia “Legends of Country Music” series is a great way to celebrate his centennial! Wills had learned to play the fiddle by age ten. By the late 1920s, he and Herman Arnspiger were performing in the Fort Worth area as The Wills Fiddle Band. In 1931, they were joined by Milton & Durwood Brown and called themselves Aladdin’s Laddies. Disc #1 in this set begins in 1932 with recordings of The Light Crust Doughboys, the band formed after the Light Crust Flour Co. hired the band for radio broadcasts. Because of a trademark, Victor Records called them The Fort Worth Doughboys. By 1934, Wills had formed his own band, moved to Tulsa, and signed with Okeh Records. Disc #2 covers 1937-1940, and disc #3 spans 1941-45. Disc #4 begins with 1946 and ends with Bob Wills’ final session (1973 in Dallas).

It’s important for such compilations to include a musician’s big hits, as well as a sampling of their entire repertoire and influential pieces. We hear many favorites like “Big Ball in Cowtown,” “Bubbles In My Beer,” “Roly Poly,” “Take Me Back to Tulsa” and “Stay A Little Longer.” “San Antonio Rose” and “New San Antonio Rose” are both included, the former written in just 30 minutes when Wills needed another number at a recording session. Pandhandle Rag was a top ten hit in 1949. We’re given the 1969 version here. Leon McAuliffe’s influential “Steel Guitar Rag” appears on disc #1. In the 1960, Wills made the charts with “Shape Up or Ship Out” and “I Don’t Love Nobody.” Unfortunately, these songs are not provided. And how in the heck could they not have included “Across the Alley from the Alamo”? Oh well … can’t have everything.

With 105 tracks in total, this compilation certainly tells the musical story with both old-time fiddling (e.g. Osage Stomp) and country-styled jazz (e.g. Trouble in Mind, Basin Street Blues) well represented. But don’t forget about the times that Bob Wills lived and played his music in, just after the Depression. Many of his fans were poor, the working folks in need of a charismatic performer to look up to. Somewhat of a folk hero, Bob Wills and his Texas Playboys traveled the backroads to rural areas in a large bus with a big longhorn steer head on the front. With heavy emphasis on the backbeat and guitar chords played over a moving bass line, the music was infectious an designed for dancing. And then there were the great lyrics, often sung by the great Tommy Duncan. Excellent notes, in a booklet with many excellent historic photographs, are an added bonus in this legends series. All I can say, is that it’s a moving tribute to a great musician. So, to quote Bob Wills, “Aaaaa-haaaa!”
Joe Ross

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SANDY MELDRUM - Scottish Piano Fusion
www.greentrax.com
greentrax@aol.com OR cath@greentrax.com
Playing Time – 65:35
SONGS - 1.Ferret Set, 2. Piano Jigging, 3. Dannsaichean An Rathaid, 4. Scottish Piano Jazz Fusion, 5. Contempoprary Air, 6. Gaelic Piano With Boxes, 7. Lammermuir, 8. Some Own Compositions, 9. Classical Fusion, 10. Our Bard, 11. Lewis Cousins, 12. Bagpipe Piano Jazz, 13. Reeling Piano, 14. Phil's Airs, 15. Bagpipe Piano

While only about 23 years-old, Sandy Meldrum’s debut music on piano and piano accordion shows no signs of being green or “wet behind the ears.” In fact, if anything, he’s a proponent of a piano style (Scottish Fusion) that is helping to youthify and revitalize traditional Scottish music. He’s accomplishing this by building a bridge from the traditional side of the river to the other where jazztown, soulville and bluesburg are located. Sandy wants to follow in the footsteps of the album’s co-producer, pianist Dave Milligan. Like him, Sandy has obtained a degree from The Royal Scottish Academy of Music and Drama in Glasgow (RSAMD). Now, he is planning a career in music that involves touring and recording. “Scottish Piano Fusion” enlists the support of some phenomenal Scottish musicians -- Stuart Cassells (pipes), Stuart Cameron (piano accordion), Simon Moran (fiddle), Alyn Cosker (drums), Steven Graham (djembe), Celine Donoghue (tenor banjo), Tom Lyne (double bass), Fiona Hunter (cello), Fergie and John Macdonald (button accordions), Calum Alex Macmillan (vocals), Darren MacLean (vocals), Phamie Gow (clarsach), and Dave Milligan (piano). While the CD jacket clearly shows musician credits for some songs, others are a little more difficult to figure out. By including some of their compositions, Sandy also shows gratitude and acknowledges the support of RSAMD instructors Phamie Gow and James Ross.

Since graduation, Meldrum has toured with Fergie MacDonald’s ceilidh dance band. He also appears on button accordionist John MacDonald’s debut album, “New Horizons.” The piano is a perfectly alluring instrument for Sandy Meldrum’s musical interpretations. There are lively numbers that put spirit in your feet, and there are breezily romantic compositions with hypnotic voicings. Meldrum also has a precocious soulfulness as he carves out his own niche.
Joe Ross

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Takeharu Kunimoto and The Last Frontier - Sushi & Gravy

Dansmusiconline.com OR http://homepage2.nifty.com/ts-sonic/index.htm (then click on "English")
EMAIL thelastfrontier@hotmail.com
Playing Time – 38:19

As a young “navy brat” growing up in Japan, I often discovered such cross-cultural delicacies as gravy rice, curry rice, squid pizza, or french fries with gravy. “Sushi & Gravy,” however, is one item I never concocted, but it was only a matter of time before someone mixed up an appetizing batch. Leave it to shamisen-player Takeharu Kunimoto and The Last Frontier (Aaron Jackson, J.P. Mathes, Ken Thomas, Dan Boner). Joined by Raymond McClain (fiddle, clawhammer banjo) in a varied set recorded after the group's 2005 Japan tour, the unique band demonstrates an open-minded willingness to incorporate Eastern and Western sensibilities into their bluegrass, instrumental and original music. Kunimoto’s first instrument was actually mandolin, taken up thirty years ago after seeing Bill Monroe. In 2003, the Japanese musician and storyteller attended East Tennessee State University where he joined the Bluegrass Pride Band. In 2004, The Last Frontier formed and released “Appalachian Shamisen.” Over in Japan, Kunimoto is both preserving and pushing tradition as a rokyoku ballad singer who tells historical vignettes, accompanied by shamisen. The innovator incorporates elements of blues and rock music as he explores and revitalizes this traditional art form in his country.

The fretless shamisen only has three strings strung over its parchment-covered soundbox, but Kunimoto-san is a master at finding a way to fit into a bluegrass context. Purely Japanese, the shamisen first appeared in the sixteenth century. Now played with a large plectrum, the earliest shamisen could have been bowed. It’s the quintessential all-purpose Japanese instrument, indispensable to theater, parties, geisha, folk and classical music. Because of the instrument’s versatility in Japan, Kunimoto proves that it can also find acceptance in Oriental bluegrass. The shamisen’s voices range from robust percussive propulsion (“Tears of the Samurai”) to lyrically sweet vocalizing with a feminine touch (“Chinese Caravan”). The latter is a favorite. Four seconds later, Kunimoto is singing a fun, rousing original “A-Jyanaika” that reminds me of rowdy street musicians called “chindonya.” The song’s title means “Take it easy,” and is based on an original “A-Janaika” song dating to about 1867 when the Japanese were nervous about changes in their country, earthquakes, tsunami, flood and other natural disasters. “A-Janaika” performed with a folk dance (or parade) helped the people to think positively.

The band loses some balance in their fastest pieces that push and challenge each other (“Gonna Paint The Town”), but Jackson & Mathes’ “The One Who Leads Me Home” is a pleasurable gospel experience. Burning original instrumentals like “Hikyaku’s Love” and “Nanny Goat” keep the melodies simple, direct, with solid rhythmic thrust.

This album has a distinctive native sound and Japanese character, and the band’s Zen-like wisdom emphasizes that there is much joy and fun to be found in each fleeting musical moment. Kunimoto fully realizes the many emotions of his instrument, and his rokyoku storytelling will no doubt now also include some hot bluegrass licks and phrasings to further thrill his enthusiastic Japanese audiences.
Joe Ross

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DAUGHTERS OF BLUEGRASS – Back to the Well
www.daughtersofbluegrass.com OR http://www.musicshed.com
Playing Time – 42:12

In the excellent opening song, “Back to the Well” (written by Lorraine Jordan & Dixie Hall), the daughters of bluegrass sing about having a story they must tell, and thanking their mothers for paving the way for them. The title track, on Prime Cuts of Bluegrass’ Volume 80, achieved the top three position among reporting DJs who listened to that volume. This album project, produced by Lorraine Jordan and Dale Perry, is the sophomore release from an assemblage of 18 women in the bluegrass community. The first release, “Daughters of Bluegrass,” hit the streets in 2005 on the CMH label and struck gold with a nomination for IBMA’s Recorded Event of the Year Award.

“Back to the Well” will certainly be met with similar accolades for its mellifluous music from Lorraine Jordan, Gena Britt, Mindy Rakestraw, Frances Mooney, Donica Christensen, Jeanette Williams, Valerie Smith, Becky Buller, Beth Lawrence, Julie Elkins, Angela Oudean, Michelle Nixon, Dale Ann Bradley, Heather Berry, Megan McCormick, and Vicki Simmons. Besides showcasing the superb songwriting abilities of Dixie Hall and Louisa Branscomb, there are also original offerings penned by Buller, Jordan, and Nixon. The contributors for each song are listed, and a paragraph of biographical information is provided for each of the 18 women involved. Bluegrass music continues to grow, and the featured artists are a testament to the wide-ranging interest in the music – the women hail from North Carolina, Virginia, Missouri, Minnesota, Kentucky, New York, and other states. Of course, there are plenty of fine women bluegrass musicians further west too.

“Back to the Well” has many brilliant moments that revolve around sweetly wistful remembrances such as “Fools Gold,” as well as some spirited numbers like “Prisoner Song” and “Grass Angels” that provide plenty of opportunities for the pickers to display their solid chops and understanding of the genre. Both traditional and contemporay stylings are included. Sparer settings are chosen to lend immediacy to story songs like “Never Made it Home” and “Pocket Knives & Fiddle Tunes,” while a robust old-time flavor is imparted to Buller’s “Come on Down the Mountain.” This reviewer imagined hearing a few of the more thoughtful or tranquil numbers embellished with the resophonic guitar of perhaps Sally Van Meter, Cindy Cashdollar or another woman of similar caliber. One song example is Timothy Tew’s (Gena Britt’s husband and Dobro-player in her band) song, “Still Feel the Nails,” that is very pleasantly arranged with guitar and fiddle fills but could’ve used perhaps a tad more. I did enjoy hearing Heather Berry’s autoharp in the mix of the “Picture of Jesus.”

Throughout this very enjoyable project, the vocals are expressive, winsome and warm. And the instrumental work displays clarity, freshness and vigor. For their next release, planned in 2008 on Blue Circle Records, I’ll boldly recommend that these bluegrass descendants offer up some more fast and fiery barn-burners to really shake things up…. the challenge, of course, being to do so without compromising their alluring femininity.
Joe Ross

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MARK SCHATZ and FRIENDS – Steppin’ in the Boiler House www.rounder.com
Playing Time – 50:37

With a very nice combination of both boisterous and some more restrained music, Mark Schatz’ second solo album demonstrates the great discipline that this purveyor of neo-traditonalism has. Best known as a bass player (he won IBMA’s 1994 and 1995 bass player of the year awards), Schatz is also at the top of the game with his proficient clawhammer banjo technique of striking downward on the strings with the back of one’s fingers or nails. Generically also called “frailing,” the result is what Pete Seeger once called a “bumm-titty bumm-titty” rhythm in his book on how to play the 5-string banjo. When you bring your thumb in to start picking a string other than the fifth to squeeze in additional eighth notes, then you technically get “clawhammer” or “double-thumb frailing.”

Whatever you want to call the playing, the eclectic Mark Schatz (now in Nashville by way of Pennsylvania and Massachusetts) has created a set of affable music that deeply taps his many roots and personal experiences. For example, Mark’s first band was a folk dance group called Mandala, and the accomplished dancer serves as musical director for the dance troupe Footworks and even performed in 1996 with the Riverdance show. For a musician of his caliber to so fully understand the dance tradition results in the music being that much more cohesive and in touch with its roots. Lively numbers like “Stay All Night,” “Rig Root” and “Last Gold Dollar” will definitely put spirit into your feet. The latter features Tim O’Brien’s mandolin and vocals. Beautifully expressive moments are captured in waltzes like “Black Mountain Aire” and “Eileen’s Waltz.”

Schatz has also played bass with contemporary and stellar bluegrass, new acoustic, and Americana acts like Tasty Licks, Spectrum, Tony Rice Unit, Bluegrass Album Band, Tim and Mollie O’Brien, and Nickel Creek. Thus, this album taps his experiences to give us an evocative score, both earthy and ethereal. “Cajun Stomp” captures a natural born earthiness. Near the mid-point of the set, “Season of Joy” transports us breezily into a more reflective mood. The title cut, “Steppin’ in the Boilerhouse,” establishes an alluring, almost funky, groove in the piece that was originally composed to inspire some cloggers. Mark’s hambone break is a brilliant and witty ending to the piece. A stylistic departure into high-stepping and melodic newgrassy territory features Tim O’Brien’s mandolin and Jerry Douglas’ Dobro on “Calgary.” Accompanying Schatz on all tracks are Missy Raines (bass), Jim Hurst (guitar), and Casey Driessen (fiddle). They’re rock solid, given plenty of chances to shine, they all display virtuoso acoustic musicianship. Hurst sings “The Devil’s Game,” a song with blues and rock foundations that establishes a nice groove. Stuart Duncan (fiddle) and Bela Fleck (mandolin) also make some fine appearances on the CD. Some of you may remember that Schatz, O’Brien, Douglas, and banjoist Charlie Cushman had a just-for-fun band in 1998 called “The Flatt Heads.” So I feel that another strength here is that the artists’long aquaintance and enduring friendships translate into warm, conversational musical arrangements.

I’ve heard the clawhammer-style of banjo also referred to, in some local or regional contexts, as rapping, beating, thumping, knocking, flailing, trashing, clubbing or even gun-hammer. Schatz’s wildly thrilling ride shows us this technique are all these and more, especially when he presents more melancholic or contemporary moods on a self-penned piece like "The Falling Waters of Arden." To truly describe Mark Schatz’ inspired banjo-playing and music, I think I’ll simply defer to how Uncle Dave Macon described the technique …. racking, rocking, whomping. I’d merely say that Schatz really knows how to “frame the banjo.”
Joe Ross

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JIM VAN CLEVE – No Apologies
www.ruralrhythm.com OR www.hollerbackpr.com
Playing Time – 44:52

Fiddler Jimmy Van Cleve has made quite a bluegrass name for himself playing with Doyle Lawson, Ric-O-Chet, Lou Reid & Carolina, Rambler’s Choice, and Mountain Heart. The latter group, formed in 1998, won IBMA’s Emerging Artist of the Year Award in 1999. Now, on his debut solo album “No Apologies,” Van Cleve has the support of his current bandmates and other bluegrassers of incomparable talent. The result is supreme ‘grass that hits you like a runaway train. The musical thrust of “No Apologies” is simply hard-charging intensity and soulful loveliness that epitomizes the bluegrass spirit. Emphasizing their instrumental and melodic mettle, the formidable pickers treat us with snappy bursts of rhythm, hot licks and consummate radiance.

The artful approach of “No Apologies” has alluring je ne sais quoi (a quality hard to describe) as it covers a variety of territory. Whether your cup of tea is expressive new acoustic and reverberated pieces like “Highlands” and “Grey Afternoon,” or the more traditional sensibilities of a very accessible and expressive “We Can’t Be Darlings Anymore,” Van Cleve and company show that their music can be both inspired and inspiring. All this from a 26-year-old! On this project, the fiddler also wears the hats of lead singer, harmony vocalist, producer, arranger, and composer. Van Cleve solely penned or contributed as a co-writer to six of the eleven tracks. Jim even displays some luminous vocal quality on “Way It Always Seems To Go,” his debut as a lead singer. Written by Dennis McEntire, the barn-burning “Let The Big Dog Eat” has been getting considerable airplay. And if you don’t think these guys can pick fast, then buckle up your seatbelts and give a listen to the closer, “Train 45.”As a producer, Van Cleve partnered with Mark Bright to create an inspirational pop-influenced “Scars, ” sung by Sonya Isaacs with seductive charm. I like the variety; some others may feel a little uneasy at those points in the set with disparateness between songs. Besides the members of Mountain Heart (Adam Steffey, Clay Jones, Jason Moore, Steve Gulley and Barry Abernathy), other top-notch musicians making appearances include Rob Ickes, Bryan Sutton, Ronnie Stewart, Ronnie Bowman and Sonya Isaacs.

This is a highly energetic and entertaining disc that is deliriously fun and full of kick-up-your heels inspiration. This album is truly a crowning milestone for the eclectic and masterful Jim Van Cleve.
Joe Ross

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Becky Buller – Little Bird
www.beckybuller.com
Playing Time – 40:55
1 Save Your Good-bye 2 Little Bird 3 On The South Dakota Wind 4 Clivus Mulchum 5 Opal, Ruby & Pearl 6 You're My Guide 7 Topaz Moon 8 Soddy - Daisy 9 Iris 10 The Master's Garden 11 Where The Rivers Divide 12 Cabin On A Mountain 13 Take Me Over Jordon

Becky Buller is making quite a name for herself, and “Little Bird” should dispel any doubts in bluegrass circles about this young woman’s impressive talent, exceptional musicianship and stalwart dedication. Buller fiddles with a bouyant touch of the bow. She also sings with an unmistakable sweetness of tone and wholesome sound.

As a songwriter, Becky gives us enchanting repertoire of engaging compositions. Her material has been recorded by Doyle Lawson, Rhonda Vincent, IIIrd Tyme Out, Valerie Smith & Liberty Pike, Mark Newton, David Parmley & Continental Divide and others. Becky has won the Hank Williams Songwriting Contest held in Avoca, Ia. (1996), performed at the IBMA songwriter showcase (1998), and took first place in the bluegrass category of the Chris Austin Songwriting Contest at MerleFest in Wilksboro, N.C. (2001).

At age 13, Buller took up fiddle and joined her parents’ band (Prairie Grass) in southern Minnesota. In 1996, she became Minnesota’s Junior Fiddling Champion. Classical violin lessons and music studies at East Tennessee State University helped her become an even more well-rounded musician. After graduation in 2001 with a degree in public relations, she began performing, touring and recording with Valerie Smith and Liberty Pike. Becky’s first album, “Rest My Weary Feet,” set the stage for many great things to come.

“Little Bird” features guest artists Daniel Hardin, Stephen Mougin, Wayne Benson, Patton Wages, Adam Steffey, Ron Block, Rob Ickes, Carl Jackson, Amanda Kowalski, Andrea Zonn and others. The eclectic offerings range from a song written in the style of the brother duet (“The Master’s Garden”) to such contemporary offers with interpretive twists as “Topaz Moon” and “Save Your Goodbye.”

With the expert production and engineering assistance of Rich Adler, “Little Bird” deals a hand that is all aces. Don’t let Buller’s age fool you. This album wraps up and delivers plenty to thrill bluegrass and acoustic music fans.
Joe Ross

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Williams and Clark Expedition’s – The Old Kentucky Road
www.williamsandclarkxpedition.com
Playing Time – 42:39
The title cut on Williams and Clark Expedition’s “The Old Kentucky Road” has the common “longing for home and simple life” theme found in bluegrass music. At the same time, the song’s hook about “sweet tea, country ham and cornbread on the stove” could be a good analogy for the music from this band that gives us “a musical journey of harmony, history and humor.” Nominated in both 2003 and 2004 for IBMA’s Emerging Artist of the Year Award, this band’s latest album (their third as a group) will clearly establish them as more than just four recent arrivals on the scene. After all, the members of this quartet have many years of experience working with top names in the music business.

W&CE’s unique and personalized signature sound has been crafted around the accomplished picking and singing of Blake and Kimberly Williams, Wayne Southards, and Bobby Clark. Guests Tim Crouch (fiddle) and Ferrell Stowe (resonator guitar, Oahu guitar) make some very nice contributions to the overall sound. “The Old Kentucky Road” takes the band’s presentation to an even higher level with a more significant emphasis on well-penned originals, like “Get Gone Blues,” “Pleasant Hill,” “Too Late, “Sad Union,” and the title cut. There are also original instrumentals “Wib’s Tobacco Reel” and “Hot Pursuit.” Bobby Clark did a nice job arranging “Washington County,” an instrumental from the public domain. “Over in the Gloryland” and “Too Late” are their gospel offerings for this project. The latter features some splendid old-time style fingerpicked guitar from Blake Williams. Covered numbers come from Phillip East (Kimberly’s father), Keith Little, and Bobby Osborne/Pete Goble.

W&CE's exhilarating presentation conveys plenty of energy and enthusiasm. On this project, their music seems even tighter and high-stepping. With their great songs, strong vocals, impressive instrumental prowess, and superior arranging, they have demonstrated a keen ability to cover all the bluegrass bases. That, in simple terms, is why “The Old Kentucky Home” hits a homerun.
Joe Ross

Ralph Stanley – Great High Mountain
www.rebelrecords.com
Playing Time – 37:33
Songs - 1. I've Always Been A Rambler 2. Bootleg John 3. Who Will Call You Sweetheart 4. Go And Leave Me If You Wish To 5. Great High Mountain 6. Sharecropper's Son 7. Clinch Mountain Backstep 8. I'm Lonesome Without You 9. Turn Back, Turn Back 10. I'll Remember You Love In My Prayers 11. Wild Geese Cry Again 12. I've Got A Mule To Ride 13. Amazing Grace 14. Home In The Mountains

Bluegrass music doesn’t get much more lonesome than Ralph Stanley’s. G. B. Grayson’s “I’ve Always Been a Rambler” is a good choice of song to open this album and set the stage for a collection of classic bluegrass music at its finest. “Great High Mountain” is a compilation of Ralph Stanley favorites recorded between 1971-1996. “Wild Geese Cry Again” (recorded in 1996) is the only previously unreleased number, with all the others appearing on various Ralph Stanley albums on the Rebel Records label. Four tracks are pulled from the album, “Old Home Place” (Rebel-1562). Besides Stanley’s own mournful vocals, other vocalists featured include Jack Cooke, Keith Whitley, Danny Marshall, Charlie Sizemore, Roy Lee Centers, Ricky Lee, and Chester “Pop” Marshall. The choice of material is arranged with a diverse array of vocal solos, duos, trios and quartets. A favorite instrumental, “Clinch Mountain Backstep,” breaks up the overall set at track #7. After Ralph frails his banjo on “I’ve Got a Mule to Ride,” the album closes with a spiritual quartet, “Amazing Grace,” and reflective duet, “Home in the Mountains.”

Stanley’s music has always placed primary importance on the singing, and the 2004 Virginian of the Year stresses that “the instruments are there to bolster up the singing.” “Great High Mountain” clearly illustrates how lyrics, music and feeling in mountain music work together to get it as lonesome as you can get it. On the surface, old-time traditional sounds may appear simplistic. In reality, you’ve got to feel the old-time way to play it correctly. Stanley once said , “I really think that bluegrass if it’s sung right and done right and the proper feeling put to it is the hardest music in the world to play.” That is what this album epitomizes. “Great High Mountain” embodies an old-time mountain bluegrass sound that reaps a bountiful harvest.
Joe Ross

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Darin Aldridge – Call it a Day
www.pinecastle.com
Playing Time – 49:02
Song List: 1 Pretty Words 2 How Could You Go 3 Coast Of Colorado 4 Call It A Day 5 Driving Nails 6 I Don't Worry About You Anymore 7 Where I Am Bound 8 Broken Chains 8 Stain Glass Tears 10 Will You Be Ready 11 Abigail’s Reel 12 Late In The Day 13 Crying Holy

Pinecastle Records is to be commended for their willingness to support young bluegrass artists, and the label has helped to launch quite a few careers for up-and-comers in the music’s next generation. At the same time, they are also introducing younger audiences to the excitement of contemporary bluegrass music and perpetuating the genre’s future success. Mandolinist and singer Darin Aldridge is a full-time musician and teacher who is a member of The Country Gentlemen. Aldridge’s solo project, “Call it a Day,” is the next major accomplishment in a long list of successes for the native of Cherryville, NC. who was born in 1977.

Aldridge’s attraction to musical instruments dates back to his early grade school days when he played drums, piano, and guitar. He learned to clog dance, and by high school Darin was also playing saxophone and winning awards for his musical abilities. In 1994, the banjo and mandolin were added to his instrument arsenal. Some of his previous band work has been with Carolina Crossfire, Dr. Bobby Jones’ Band, and Acoustic Syndicate. “Stain Glass Tears” and “Will You Be Ready” are cuts on this album that were co-written with Bobby Jones. In 1998, Darin started doing six shows a day with others at Tweetsie Railroad Theme Park until the call came from The Country Gentlemen on New Years Day in 1999. Three times nominated for SPBGMA Mandolin Player of the Year (2000, 2001 and 2002), Darin Aldridge is clearly a talent to watch as he rises to stardom. His first solo album, “In Time,” was released in 2000 to much critical acclaim.

Appearing with Darin on this latest solo album are Tim Stafford, Jaret Carter, Billy Gee, Greg Luck, Shawn Lane, Jason Burleson, Greg Corbett, Amanda Smith, Lou Reid and Chris Bryant. Together, they pack a supreme wallop. With the support of Pinecastle’s national distribution, the skilled musician will be moving quickly to greater career heights.

A couple of his major influences include Vince Gill (who also wrote this album’s opening track, “Pretty Words”) and Skip Ewing (whose song, “Coast of Colorado” appears at track 3). Other covers are drawn from Bruce Carroll, Kenneth Rogers and Clara Lambeck, Michael Burgess, Tim O’Brien and Vernon Doyle Wood. A masterful songwriter in his own right, six of the songs on “Call it a Day” were written by Darin’s own pen. A couple favorites are those he worked up in collaboration with Bill Stroupe called “How Could You Go” and “Where I Am Bound” and the title cut, “Call it a Day.”

With his own 5-piece band, Aldridge plans to book concerts and radio shows to promote “Call it a Day.” The last I heard, The Darin Aldridge Band includes Jaret Carter, Jeff Fincham, Billy Gee and John McMillion. With youthful exuberance and energy, Darin has just hit a home run with this album.
Joe Ross

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Ralph Stanley II – Carrying On
www.rebelrecords.com
Playing Time – 35:05

“Carrying On” is Ralph Stanley II’s song about those mighty big shoes that he has to fill as he builds a name of his own in the footsteps of his famous father and uncle. But why does Ralph Stanley II give us yet another version of “Mountain Dew”? I reckon that he just likes that ol’ classic, and it’s one that he and his dad enjoy singing together. Other traditional bluegrass songs like his father’s “Ain’t it Hard” and “Pretty Woman,” the Stanley Brothers’ “Map of God’s Highway,” and A.P. Carter’s “Single Girl” are very palatable fare. Kentuckian Steve Sparkman is definitely the man who supercharges the more uptempo songs with his adept banjo playing. The real standouts on the slower numbers are Tim Crouch with his twin fiddles, and James Alan Shelton’s tasty guitar leads. Other contributors include John Rigsby, Ron Rigsby, David Smith, Lona Heins and Ralph Stanley. Kenny Smith, Josh Williams, and Dave Roe join the mix for Tom T. and Dixie Hall’s song, “Welcoming Tomb,” and Junior Blankenship picks guitar on “Carrying On.”
The younger Stanley has a lot of talent. His vocal delivery is smooth with definite country overtones. He seems more comfortable crooning a slower ballad or waltz than belting out a bluegrass barnburner. That’s why one of my favorites on this project is Hargis Kelly’s “Devil’s Little Angel,” sung with his father and Lona Heins doing harmony. As a songwriter, his three originals on this project (You Will Never Be Mine, I Am the Way I Am, Arizona Line) demonstrate another of his proficiencies. “I Am the Way I Am” has a common theme of the loneliness a music-making man encounters on the road. “Arizona Line” is an instrumental which gives Ralph a chance to impress us with his lead guitar work.
Only in his twenties, Ralph II started playing on stage with his dad when he was only 14. He’s recorded four solo albums, as well as another with another Clinch Mountain Boy, John Rigsby. We’ve been able to witness Ralph’s musical growth and maturity on such projects as Listen to My Hammer Ring, Pretty Girls City Lights, Clinch Mountain Echoes, and Stanley Blues. Now in full blossom, I have the feeling that “Carrying On” is the album that is going to further launch his career to a greater height. Ralph Stanley II has a long and propitious career ahead of him. It will be interesting to see if he sticks with the bluegrass genre, or whether he might even pursue fame and fortune in country music. He could do either successfully.
Joe Ross

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LAURIE LEWIS & The Right Hands – The Golden West www.hightone.com OR www.laurielewis.com
EMAIL laurie@laurielewis.com OR lcmedia@bellsouth.net OR hightone@hightone.com
SONGS - Your Eyes, Burley Coulter’s Song For Kate Helen Brance, 99 Year Blues, Before The Sun Goes Down, Live Forever, Rank Stranger, Bury Me in Bluegrass, The Golden West, A Hand to Hold, River Under The Road, Hard Luck in Heaven, The Mourning Cloak, Goodbye Waltz Playing Time – 52:53

Laurie Lewis’ bandmates call themselves “The Right Hands,” but they sure sound ambidextrous to me. For three days in July 2005, the quintet of Laurie Lewis, Tom Rozum, Scott Huffman, Craig Smith, and Todd Phillips hung out at Sage Arts Studio outside Arlington, Wa. A self-proclaimed “river rat,” Laurie gained energy from the fast-moving current of the Stillaguamish just outside their guest house door. Lewis admits that they’d planned to be more prepared for the session, but that might’ve actually detracted from some of the spontaneous energy that the currents of this album exude. Her own observation was, “Everything seemed so fresh and enticing to us, hearing and playing the majority of these tunes for the first time as a group.”

Not just a fantastic fiddler and singer, Lewis does some exceptional songwriting for this CD that also includes covers from Jimmy Martin, John Hartford, Albert Brumley, Bill Monroe, Jimmie Rodgers, and even other more contemporary writers like Billy Joe Shaver and Jimmie Dale Gilmore. Laurie contributes two compositions. “Your Eyes” opens the set with the kind of unique and expressive sound that gives Laurie a creative signature sound. You can’t help but smile at the catchy melodic progression and hook “I was in the lead, but I stumbled at the rail. I was flying high, but I’m a kite with no tail. I’m gonna fall, and I was doing so well, until I looked into your eyes.”

Laurie’s much slower reflective acoustic country number, “A Hand To Hold,” features a duet with Linda Ronstadt as they sing this tribute in song for guitarist Charles Sawtelle with passionate lines like “My mind has been full, but my voice has been still, in all this time since you’ve been gone.” A minor point, but the song could’ve been even more effective as a male/female duet. While all lyrics for the album can be found at her website, I sure wish that her short insightful notes about each song had been included in the CD’s digipak. How cool is it to know that “Burley Coulter’s Song For Kate Helen Branch,” for example, was one of Wendell Berry’s poems that he asked Laurie to put it to music? And that Linda Rondstadt suggested “Rank Stranger” for this album, based on their experience first singing with The Bluebirds (Laurie and Linda with Maria Muldaur) at Wintergrass in 2005. Their high, soaring soprano notes together (along with Tom’s harmony) are amazing.

A jilted woman gets her revenge in Karah Stokes’ poetic “The Mourning Cloak,” a species of butterfly that becomes a “messenger of sorrow deep.” An interesting perspective on leaving home or selling the farm is “Bury Me In Bluegrass,” that is a lyrical statement consistent with the bumper sticker on Laurie’s guitar case that proclaims, “Growth Destroys Bluegrass Forever.” With that sentiment also in mind, Laurie and the Right Hands walk a fine line with their thoughtful music. Their approach manages to bridge the music perfectly with ones who have gone on before them. We don’t exactly know the inspiration behind Father of Bluegrass Bill Monroe’s instrumental “The Golden West,” but we do know that those in California, as well as throughout the world, have embraced the power and intensity that the genre has to offer.
Joe Ross

Laurie Lewis & Tom Rozum – Guest House www.hightone.com
Playing Time – 53:36
Songs – 1) Willie Poor Boy, 2) Since You Went Away, 3) Bad Seed 4) Tramps and Hawkers, 5) Alaska, 6) O My Malissa/How Old Are You?, 7) My Heart's Own Love, 8) Old Dan Tucker, 9) Scars From an Old Love, 10) Don't Let the Stars Get in Your Eyes, 11) Quiet Hills, 12) Just a Lie, 13) Wild Rose of the Mountain/The Devil Chased Me Around the Stump/Glory at the Meeting House

The title of the third duet album from Laurie Lewis and Tom Rozum was inspired by the 13th C. Persian poet, mystic and religious scholar Jalal al-Din Rumi. Like bluegrass music, the “Guest House” of humanity is wrought with various emotions from joy to sorrow, depression to delight. Laurie and Tom also have an affinity for old-time and folk music in their songs full of love, advice and caution.
Besides her own the originals, the duo covers a couple by Hazel Dickens (”My Heart’s Own Love” and ”Scars From an Old Love”) and others by Claudia Schmidt, Si Kahn, Slim Willet, Liz Meyer, Jim Ringer, and Kate McLeod. The rollicking opener, “Willie Poor Boy,” is a sorrowful tale about an angry man with a gun whose rage lands him in prison. In a style reminiscent of The Louvins, “Since You Went Away” is an original country duet with understated arrangement but a catchy hook. “You can’t harvest any good when you sow bad seed” is the cautionary missive found in “Bad Seed.” An appealing Celtic melody is the foundation of Jim Ringer’s “Tramps and Hawkers.” There are other pleasant surprises – Rozum’s additional lyrics to “Old Dan Tucker”; a resurrection of the 1950s hit “Don’t Let the Stars Get in Your Eyes”; the splendid four-part a cappella harmonies on Claudia Schmidt's “Quiet Hills”; the nearly 8-minute traditional fiddle tune medley that closes the album.

Laurie wrote “O My Malissa” after reading about courtship of Bill Monroe’s parents. It makes a seque into “How Old Are You?,” a fiddle tune learned from a recording of Bill, Charlie and Birch Monroe in 1969. This medley and “My Heart’s Own Love” feature the frailing banjo of Tom Sauber. Craig Smith’s bluegrass banjo embellishes six cuts. The other accompanists include Todd Sickafoose (bass), Scott Huffman (guitar, 4 cuts), Nina Gerber (lead guitar, 2 cuts), Mike Marshall (mandocello on one cut, guitar on one cut). Laurie plays fiddle and guitar; Tom plays mandolin, mandola, and guitar.

From Berkeley, Laurie got hooked on bluegrass in the 1960s and has played with many groups (Phantoms of the Opry, Good Ol’ Persons, Free Mexican Air Force, Vern Williams Band, Arkansas Shieks, Blue Rose, and Grant Street) before starting her own band in 1998. A two-time California State Women’s Fiddle Champion and two-time IBMA “Female Vocalist of the Year” (1992 and 1994), Laurie has also appeared at the Grand Ole Opry. Tom Rozum has worked with Lewis since 1986. He recently released his first solo album, “Jubilee,” and “Guest House” is actually their eighth overall album together. Lewis and Rozum recorded their first duet album in 1995. “The Oak and the Laurel” was nominated for a Grammy in 1996 for Best Traditional Folk Album. “Winter’s Grace” was put out in 1999.

The indefatigable Laurie Lewis and Tom Rozum have a reputation for exciting musicianship. Their sound keeps hot fiddle, mandolin and duet singing in the forefront. They’re a little bit classic country, a tad bit folk, a skosh old-timey, and slightly bluegrass. This album is proof that they can expertly do it all. Their versatility gives this album a high degree of intrigue and charm.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

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Curly Seckler - That Old Book of Mine
EMAIL tgarber @ rebelrecords.com
Playing Time 40:16
Considered one of the best tenor singers ever in bluegrass music, this reissue of a 1971 album called 'Curly Seckler Sings Again' (County-732) also includes five cuts from Curly;'s 1989 release with Willis Spears called "Tribute To Lester Flatt" (Rebel CS-4301). All told, we?re treated to 16 tracks including such classics as "No Mother In This World," "Salty Dog Blues," and "You Took My Sunshine." In 2004, Seckler was deservedly inducted into the International Bluegrass Music Association (IBMA) Hall of Honor (they had previously honored Seckler in 1996 with the Distinguished Achievement Award).
This bluegrass pioneer is from China Grove, N.C., and his real name is John Ray Sechler. With his brothers, his first band was The Yodeling Rangers in 1935. Four years later, he joined up as a guitar and banjo player with Charlie Monroe. In 1948, he joined Mac Wiseman in The Smokey Mountaineers. In the late-40s or early-50s, he briefly worked with Danny Bailey, The Cope Brothers (on Grand Ole Opry), Jim & Jesse (making an album on Capitol with them), The Stanley Brothers and The Sauceman Brothers. By 1949, he was with Flatt and Scruggs as one of their Foggy Mountain Boys. After a year, he left them to work with Jim & Jesse, but he became a Foggy Mountain Boy again from 1952-62 when he retired and started a trucking business.
The 1971 session also included Billy Edwards (banjo), Herschel Sizemore (mandolin), Tater Tate (fiddle) and John Palmer (bass). Curly played guitar, and sang lead or tenor at this session. If singing tenor, the lead vocals would be handled by Billy Edwards. When called for ('Salty Dog Blues' and ?Don?t This Road Look Rough and Rocky?), Tater Tate would sing the baritone harmony part. The band's quartet is featured on the gospel piece, 'Remember the Cross', and Hank Williams? 'Sing, Sing, Sing'. Of special note are Seckler's own compositions, 'That Old Book of Mine' and 'What's the Matter Now', that illustrate his songwriting abilities as well. Of course many of the songs covered from the repertoire of Flatt and Scruggs. Seckler and Flatt collaborated to co-write 'No Mother or Dad'. After recording, Curly Seckler 'unretired' in 1973 and joined Lester Flatt and the Nashville Grass. Although Lester died in 1979, Curly assumed the leadership role to keep the band going until about 1994. In 1981, Curly Seckler & The Nashville Grass hired Willis Spears as their lead singer. In 1987, Seckler and Willis became partners, and they led the band together until Curly?s retirement in 1994. The 1989 recording session teamed up Seckler (on mandolin) with Willis Spears (guitar), Ron Stewart (fiddle), Larry Perkins (banjo), and Philip Staff (bass). Seckler only sang tenor to Spears' lead at this session. Stewart or Perkins added baritone parts on two of the five songs offered. Perkins also picks lead guitar on 'Give Me the Roses While I Live', that has Harold Jones adding the bass vocal in the only quartet from this session. This reissue captures the sounds of significant periods in traditional bluegrass history. Curly Seckler has always remained true to his traditional form. This classic bluegrass is about as good as it gets, and 'That Old Book of Mine' should be required reading.
Joe Ross

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David Mayfield – Self-Titled
www.davidmayfield.net
Playing Time – 41:58
1. Assembly Line 2. Short Order Time 3. Midnight Storm 4. Kentucky Love 5. Old Home in Virginia 6. Glady Fork 7. Sad Girl 8. Uncle Eph 9. Damn Yankee 10. Flowers Need Rain 11. Asheville Junction 12. Mountain Preachers Child 13. I Love You (After All)

David Mayfield is a talented bluegrass multi-instrumentalist and songwriter who is deserving of a much larger following. From Ohio, Mayfield plays bass, guitar, mandolin, and clawhammer banjo. At age 12, he assumed the role of bass player in his family’s band, "One Way Rider." By the time he’d graduated from high school, he had won several awards for guitar and mandolin. For this solo showcase project, Mayfield has assembled some stellar instrumental support from the likes of Jeremy Abshire (fiddle), Brent Pack (banjo), Randy Kohrs or Al Moss (dobro), Mitch Meadors (guitar), and Jen Maurer (accordion, whistle). Pack and Abshire, two superior instrumentalists in the bluegrass idiom, do an especially nice job of imparting some indisputable intensity to the CD. The album’s closer, “I Love You (After All),” introduces the piano playing of Joe Hartsel.
Most the project is bluegrass with a contemporary bent, but Mayfield shows the innate ability to present an acoustic country mood (“Kentucky Love”), some old-time mountain vigor (“Glady Fork”), and even a touch of Celtic flavoring (“Damn Yankee”). The latter is 4-minute ballad that doesn’t quite sound instrumentally or vocally finished yet. Some vocal harmony and some additional instrumentation would have helped to supplement the bass, strummed banjo and other items. Mayfield’s strongest and most memorable songs are “Assembly Line,” “I Love You (After All),” and “Old Home in Virginia.” The first two have great hooks. The latter effectively captures the driving soul and heart of traditional music in a new composition.
On the vocal front, Mayfield sings with considerable verve and personality. Backup vocalists include his mother Valerie Fay Mayfield, his father David Lee Mayfield, his baby sister Chittlin’, Chelsea Ryan, Don Rigsby, Ron Bonkowski, and Joe Bob Farley. Each of them contributes substantially to the emotionally-charged choruses. Most impressive, David sings multiple parts on a couple songs (lead and tenor on “Uncle Eph,” and three vocal parts on “Kentucky Love.”) It all seems to work nicely and provides ample proof that Mayfield has found his stylistic footing as an eclectic solo artist. His self-titled debut is memorable, distinctive, and deserving of considerable accolades from the bluegrass community at large.
Joe Ross

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Jay Armsworthy and Eastern Tradition – Making Memories http://www.geocities.com/easterntradition
Playing Time – 43:18

Down south of Washington, D.C., a band of bluegrass practitioners are preserving a traditional sound without relying on dazzling displays of speed and melodic invention. Instead, Jay Armsworthy & Eastern Tradition execute their music with keen insight for their bluegrass and classic country. In 1995, guitarist Armsworthy worked with David Davis and the Warrior River Boys. I presume that he started this band shortly after leaving Davis, and the group has had a few personnel changes over the years. “Making Memories” is their third release and also features Tom Gray (bass), Mike Phipps (mandolin) and Marc Bolen (banjo). All but Bolen sing lead and harmony vocals. Given the nature of their repertoire, it might have been nice to include a guest fiddler or resophonic guitarist to round out and enhance their overall sound.
The four band members bring over a century of bluegrass experience to the group. Armsworthy has been performing since age ten. For 7 years, he hosted the “Bluegrass on the Bay” show on radio stations in Lexington Park, Maryland. His solo recording project is called “Just Lookin' For Fun.” Phipps has played with Fred Travers, and The Dixie Ramblers (with Keith Arneson). Bolen has played banjo for over three decades, performing with George Winn, Carolina Grass, Charlie Moore, and Jimmy Martin and various Florida solo artists. Gray is the only bassist inducted into the IBMA Hall of Honor. He played with Seldom Scene from 1971 until 1987 when he went to work with Paul Adkins. He’s also played with Gary Ferguson, Roger Green, Fred Travers, Federal Jazz Commission, Hazel Dickens Band, and Randy Barrett and the Barretones.
The 14 cuts include a nice mix of obscure bluegrass and classic country material, most presented with a relaxed approach. Songs are drawn from Carter Stanley, Aubrey Holt, Jim & Jesse, Ray Pennington, Kris Kristofferson, and others. Fitting comfortably like an old shoe, their music is calming and unlikely to offend anyone. “Dirty Old Couch and Chair” is a catchy, new song written by J.C. Poff about four walls, two windows, and a couple other items left after a life-long love affair. I understand that “I’m a Stranger in My Home,” a ¾-time song penned by Neal Burris, Pee Wee King and Redd Stewart is the first time that Tom Gray’s lead vocal has ever been recorded. Roy Botkin’s “Singing on Sunday” is guaranteed to get your toes tapping. Jay Armsworthy and Eastern Tradition certainly have drive in their music, but I wouldn’t call it real hard driving. Rather, it has a very pleasant, affable and kind-hearted quality.
Joe Ross

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Various Artists – Stelling Banjo Anthology
www.rebelrecords.com OR www.stellingbanjo.com
EMAIL stelling [at] stellingbanjo.com Playing Time – 61:54 Song List: 1. Emergency Pulloff - Ned Luberecki, 2. Cotton Patch Rag - Alan Munde, 3. Another Time, Another Place - Keith Arneson, 4. Ticket To Alvarado - Bill Emerson, 5. Roadrunner - Alvin Breeden, 6. Shuckin' The Corn - Chris Warner, 7. Nedscape Navigator - Ned Luberecki, 8. Powder Creek - Alan Munde, 9. Little Juniata - Bill Emerson, 10. In Late September - Keith Arneson, 11. Bury Me Beneath The Willow - Murphy and Casey Henry, 12. Boatmans Stomp - Chris Warner, 13. Home Sweet Home - Geoff Stelling, 14. Riding The Stelling - Geoff Stelling, 15. Apple Blossom - Alan Munde, 16. John Hardy - Murphy Henry, 17. Trousdale Ferry Rag - Chris Warner, 18, Red Mary Janes -Casey Henry, 19. Home Of The Red Fox - Bill Emerson, 20. Shenandoah Breakdown - Keith Arneson, 21. Banjo Special - Alvin Breeden

I still remember the first time I heard a Stelling banjo in the mid-1970s, and I recall thinking that the instrument sure projected with both volume and tone. The very first issue of Frets magazine in 1979 featured the Stelling Bellflower. At that time, Stelling Banjo Works was based in Spring Valley, CA. The company now operates out of a former one room schoolhouse on Heards Mountain in Va. Founded in 1974, Stelling Banjo Works has always tried to innovatively improve on banjo construction with such patented creations as the wedge-fitted pot assembly, pivot-pin tailpiece, Stelling maple bridge, and compensated nut.
With over thirty years in the business, Geoff Stelling has become known as one of the best banjo builders today. And that may explain why some of the world’s finest banjo players play these instruments. Geoff’s impetus for making this album was to present an array of banjos on one recording played by various well-known pickers. Potential Stelling owners can hear how the different banjos sound when played by different people. Geoff also wanted to showcase some of his favorite pickers and friends who play Stellings. He had many musicians in mind but had to narrow the group to who was available and willing to participate under the terms he offered.
This CD’s collection of 21 instrumentals played on Stellings by nine well-known banjo players is a celebration of three decades of success. During that period, about 6,000 banjos have been built. Photos in the CD booklet include nice instruments such as # 91 (a 1976 Golden Cross built for Don Reno) and The Scrimshaw (of which only 15 were made). About half of the banjos used on this recording were constructed since 2002, many with Tony Pass rims made of mature timber that has been underwater for over 100 years, recovered and kiln dried.
The tunes, a variety of the common and uncommon, were recorded from February-April, 2005 in various studios, with each banjo-player assembling their own competent back up musicians. The majority of the tunes are the players’ own original compositions. However, there are also some Bill Monroe, Don Reno, Earl Scruggs, Gary/Randy Scruggs, Roland/Clarence White, and traditional covers.
Featured artists include Bill Emerson, Alan Munde, Keith Arneson, Casey and Murphy Henry, Alvin Breeden, Ned Luberecki, Chris Warner, and Geoff Stelling. It might’ve been nice to include a paragraph about each artist and their styles. The leanest arrangement is Luberecki’s “Nedscape Navigator” with just banjo and Ron Pennington’s mandolin. Keith Arneson played banjo, guitar and bass on his one cover and two original compositions. The other pickers organized full ensembles for their contributions, but I was surprised that not one of the 21 cuts includes any resophonic guitar. According to Geoff, “None of the banjo players apparently felt the need for Dobro given that the CD is supposed to feature the banjo. We had a limited amount of time and no need for an instrument that usually competes with the banjo in a way that is unique to that instrument.” All in all, this hour-long set is a great banjo-centric conversation among friends. Assuming the success of this album, Geoff Stelling will do another with other prominent pickers of banjos he’s built.
Joe Ross

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Josh Williams – Lonesome Highway
www.pinecastle.com
Playing Time – 38:56
Songs – 1 Killer On The Loose, 2. Ol' Brown Suitcase, 3, You Love Me Today, 4. Down Another Lonesome Highway, 5. The Legend Of The Johnson Boys, 6. Will You Meet Me Over There, 7. Golden Pond Getaway, 8. Don't Stop Now, 9. Sweet Forgiveness, 10. Mordecai, 11. The Cave, 12. Cold Virginia Rain

One of the “new generation” of young hot bluegrass pickers and smooth singers, Josh Williams, from Kentucky, formed his first band in 1990 at age ten. He then received national recognition as a young bluegrass prodigy when he appeared in the 1993 IBMA Awards Show as part of a “youth in bluegrass” band. He recorded his first album in 1991, played with The Young Acoustic All-Stars (1994-98), Hyperdrive (1998), and The Special Consensus (since 2000). His stellar debut album called “Now That You’re Gone,” (Pinecastle PRC-1115) established Josh's name as a shining star on multiple instruments, as well as a great singing and songwriting talent. Josh primarily sticks to guitar and mandolin, but he also serves up some tasty mandola licks on “The Cave.” Besides lead vocals, he also sings some baritone and low tenor harmonies. If you don’t think this young man can pick with a vengeance, one need only listen to his jaw-dropping performance on his self-penned “Golden Pond Getaway.”

This is another first-rate production of contemporary bluegrass and includes some excellent accompaniment from Don Rigsby, J.D. Crowe, Missy Raines, Ron Stewart, Randy Kohrs, Kristin Scott Benson, Otis Dillon, Dwight McCall and Jared Ribble. This album also shines in its choice of material. Besides a couple from Josh (“Down Another Lonesome Highway” and the instrumental “Golden Pond Getaway”), some of the other songs were penned by outstanding songwriters such as Tom T. and Dixie Hall, Jim Eanes, Becky Buller, and Ronnie Stewart. Williams is equally comfortable with older material (like “The Legend of the Johnson Boys” and “Don’t Stop Now”) as he is with newer offerings like “Ol’ Brown Suitcase” and “Sweet Forgiveness” and “Mordecai.” Songwriters Ron Spears and Charlie Edsall penned the album’s closer, “Cold Virginia Rain,” that is also getting some excellent airplay as a result of its inclusion on Prime Cuts of Bluegrass’ volume 69.

Fantastic bluegrass music albums like this one must have a number of things to succeed. Josh Williams is a singularly impressive talent, but he also runs with a crowd of superior instrumentalists who get plenty of room to strut their musicianship here. Good songs, arranged with consummate care, are another integral element for success. Young, creative, and talented, Josh Williams is a tremendous and virtuosic force in the bluegrass community. His broadly-appealing personalized sound shows that bluegrass music is in good hands and has a bright future.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

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Lost Highway – Bluegrass the way you like it
WEBSITE: www.hayholler.com
Playing Time – 38:33
Songs – 1. Your Love Is Like A Flower, 2. Rank Stranger, 3. No Mother Or Dad, 4. Ghost Stories, 5. Paint The Town, 6. The Angels Are Singing, 7. I Can't Go On Loving You, 8. Reynard In The Canebreak, 9. Who Will Sing For Me, 10. Over The Hill To The Poorhouse, 11. Don't Step Over An Old Love, 12. What Would You Give

When Lost Highway decided to do an album of favorite traditional bluegrass classics, they glanced at their set lists and picked a dozen classics for us. The album starts at a leisurely pace until the band jumps into overdrive at track five with “Paint the Town.” Then, the album returns to songs with adagio and andante (moderate) tempos. Drawing heavily on material from the Stanley Brothers and Lester Flatt, Lost Highway demonstrates that bands from California also know how to proficiently play the traditional stylings of Appalachia. With the exception of the instrumental written by Bill Emerson (“Reynard in the Canebreak”), all of the cuts feature Lost Highway’s nice vocal trio blend of Ken Orrick, Eric Uglum and Dick Brown. Guitarist Orrick is the band’s primary lead vocalist, although Eric Uglum (mandolin/guitar) and Dick Brown (banjo) also sing some leads. The three vocalists have pleasant, charismatic singing voices. The other integral band members include Paul Shelasky (fiddle) and Marshall Andrews (bass).

Lost Highway is one of the few traveling professional bluegrass bands based in California. Hailing originally from Smithville, TN., Ken Orrick was raised on bluegrass music. His smooth approach to singing was inspired by Carter and Ralph Stanley, Larry Sparks, Lester Flatt and Melvin Goins. Eric Uglum has played with Weary Hearts and Copperline, and he plays an important role in this band as mandolinist, lead guitarist and tenor singer. He sings lead on “No Mother or Dad” and “Don’t Step Over an Old Love.” Dick Brown has performed and recorded with Lynn Morris, Traditional Bluegrass and Pacific Crest. He is the featured lead vocalist on “Over the Hills to the Poorhouse.” Fiddler Paul Shelasky was inspired by Benny Martin and Scotty Stoneman. He has recorded on over twenty-five albums and has played and toured with the Good Ol' Persons, Frank Wakefield, Tony Rice and David Grisman. Marshall Andrews has played traditional music for all of his life, and he has performed twice at IBMA showcases with Copperline (in 1997) and Lost Highway (in 1998).

Lost Highway’s “bluegrass the way you like it” is a very warm, comfortable, appealing album. These purveyors of the tradition know that there are many favorites in the bluegrass canon. Regrettably, they didn’t chose a couple more up-tempo ensemble workouts that really burn some barns along the highway. What this quintet does give us, however, is a relaxed set of choice material, accomplished singing, and proficient picking in their characteristically friendly and personable manner.
Joe Ross
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Sons and Brothers – Captured Alive at Horn Creek Ranch
WEB: www.sonsandbrothersband.com
Playing Time – 68:20

The Sons and Brothers’ fourth album project was recorded live on December 11-12, 2003 at the Horn Creek Amphitheater in south-central Colorado. At approximately 9,400 feet elevation on the side of Horn Peak, Horn Creek overlooks the beautiful Wet Mountain Valley and the quaint western town of Westcliffe, Colorado. You’d think that the thin air at that elevation would make it difficult to pick bluegrass, but The Sons and Brothers were on their home turf and rose professionally and commendably to embrace the special occasion. The audiences were large and receptive, the band well-rehearsed and full of energy, and the sound engineer was right on. Everyone had a good party. Over six hours of recorded material were boiled down to over an hour’s worth for this project.

The Sons and Brothers band includes mandolin and guitar-player Frank Wolking and his three sons, Mike (guitar, dobro, banjo), Aaron (acoustic bass guitar), and Joe (mandolin, fiddle). From Westcliffe, a small town at the base of Colorado’s Sangre de Cristo Mountains, this band started in 1998 as a Christian music band. Their emphasis on both secular and sacred music holds a great appeal for many. Drawing its material from Bill Monroe (Blue Moon of Kentucky) and traditional (Drifting Too Far From the Shore) to The Rolling Stones (Wild Horses) and John Denver/Emmylou Harris (Wild Montana Skies), the band’s appeal is largely due to their varied repertoire.

This charismatic group is also very comfortable on stage, and they clearly know how to work a crowd with their showmanship and stage presence. This album includes the introductions to the songs, and those offer some insight in how the band properly establishes an excellent rapport with their audiences. After introducing the band’s “wonder boy,” Aaron Wolking launches into an enchanting gospel song written by Colorado Springs, Co. songwriter John Swayne called “This One Belongs to Me.” Their own fiery instrumental version of “Dusty Miller” becomes their set closer, “Dusty Minor.” Ron Thomason introduces the band in his typically humorous manner, and he also joins the band for some numbers at the end of this CD. Their “token train song” is an uptempo allegorical message about a man’s encounter with God. A rousing rendition of Ola Belle Reed’s “I Believe” is a real crowd-pleaser, as is their encore rendition of Phil Rosenthal’s “Take Him In.” This impressive live album provides strong evidence of this band’s work ethic, and it gives us a strong indication that The Sons and Brothers are rising stars in the bluegrass community.
Joe Ross
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Temperance Road – Repaved
WEB: www.temperanceroad.com
Playing Time – 32:00

The only restraint needed when listening to Temperance Road is that to resist the urge to jump to one’s feet and start flat-footing to their lively bluegrass. The Perry Family from Franklin, KY. formed the band in 2001 and took its name from the road on which five of the group’s original members live on. Temperance Road has released three previous albums, but this is their first with their new lineup since 2003 consisting of Laura Perry (bass), her daughter Sydni Perry (fiddle), James Hunter (dobro), Bernie Sullivan (mandolin), and Erik Sullivan (guitar). Laura’s husband, Richard, is the rhythm guitarist with the group.

Temperance Road builds much of their presentation around young Sydni who has been singing since she turned nine in 2001. She handles the lead vocals on five cuts, and harmony to her mother’s lead on a couple others. Sydni’s voice coach, Buzzy Orange, also penned the instrumental “Autumn Bridge.” Sydni’s fiddling is also coming along. Bernie Sullivan has been performing bluegrass since the mid-sixties and has played with The Dusty Road Boys. Erik Sullivan played for many years with his dad’s group in California and has recorded several instrumental albums. James Hunter has been playing music for about forty years including stints with the Hee Haw Gang and The Everly Brothers reunion. Richard and Laura Perry have only been playing bluegrass music for a couple years, although the music has been in Richard’s family for a couple generations. It was his father’s desire to make an album of originals, and he convinced them to dust off their instruments.

While some may miss the 5-string banjo in their sound, Temperance Road’s dobro, guitar, mandolin and fiddle keep them driving in the right direction. My main suggestion to this regional group would be for them to add a few vocal trios or quartets on their next album. Their material is sufficiently diverse to hold the interest of listeners with varied tastes. Sydni chooses songs to cover from Dolly Parton (“Jolene”), Patsy Montana (“I Want to be a Cowboy’s Sweetheart”), Rebe Gosdin (“Don’t Laugh”), and Grandpa Jones (“Are You From Dixie?”). Her mom sings lead on “Big Black Train” and “Oh Lonesome You.” Sydni and Laura each sing an original – “Goin’ Down” and “Nothing Else to Think About,” respectively. A couple instrumentals, “Pickaway” and “Backup and Push” round out the set.

More than just a novelty act, Temperance Road has the musical energy and showmanship that are sure to entertain. With their continued growth and maturity, this group is sure to build a loyal fan base. And be sure to keep an eye out for Sydni Perry. This young lady is already planning to make a career in music. What better way to get the experience and climb the learning curve than right on stage in professional settings with her parents and others to guide and teach her!
Joe Ross
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Blue Daze – World of Dreams
www.bluedazebluegrass.com Playing Time – 39:37
Songs - World of Dreams, Don't Step Over an Old Love, Going Back to Stay, Plans and Dreams, Billy the Kid Saloon, Don't Laugh, Dazed, Carolina Star, What a Hurt What a Heartache, Cold Walls of Stone, I Don't Think About You, I Never Get to Hold You In My Arms Anymore, Going Up

World of Dreams’ 13 tracks include four new songs written by Wayne Ashemore, two songs from the pen of Jim Livesay, and one from Buster Finneyfrock. Songs like “What a Hurt, What a Heartache” are welcome additions to the bluegrass repertoire. A solid band based in central Maryland, Blue Daze also covers material from Rebe Gosdin, Hugh Moffatt, Carlton Haney, and Vern & Rex Gosdin. Originally formed in 1990, about a decade has now passed since the 1994 album release from this group that was nominated by the Washington Area Music Association for a WAMMIE Award for Bluegrass Band of the Year.

Blue Daze is Chuck Van Meter (guitar), Mike Jenkins (bass), Mike Hartnett (fiddle), Tim Kruzic (banjo), and Lenny Whitehead (mandolin). Jenkins, Hartnett and Whitehead are longtime bluegrass buds who have a history that stretches back to the 70s when they played together in a band called Overland Express. Hartnett only recently joined Blue Daze, becoming their fiddler in 2001. Lead vocals are shared by Van Meter (8 songs), Whitehead (3 songs), and Jenkins (1 song). Van Meter sings with relaxed, laid-back technique, and my favorites include the album’s title cut and “Cold Walls of Stone.” Interestingly, both have choruses that are sung in lean fashion as duets. The album’s closer, “Going Up” is one that just seems to be presented and sung with added conviction. Of special deserving note is a western swingy “Billy the Kid Saloon,” and I hope that future projects feature some more of Jenkins’ heartfelt lead singing. He is typically relegated to a subordinate, yet still very important, baritone part in the band’s vocal trios. Whitehead’s instrumental “Dazed” is another highlight with its new acoustic sensibilities. Van Meter also provides some exceptional flatpick guitar work throughout the project.

This self-released album is an excellent introduction to the music of Blue Daze, a fine band with a down-home bluegrass quality and a lot of pizzazz. I suspect that Blue Daze has a strong fan base and following in their region, and airplay off “World of Dreams” should help land them plenty more festival and concert appearances.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

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Red Allen – Keep on Going: The Rebel & Melodeon Recordings
REB-CD-1127
Playing Time – 60:28

Red Allen – Lonesome and Blue: The Complete County Recordings
REB-CD-1127
WEB: www.rebelrecords.com
Playing Time – 70:11

Originally from Pigeon Roost, Kentucky, Harley “Red” Allen lived in Dayton, Ohio for most of his career. He formed his first band “The Kentuckians” in the early 1950s, and he is one of the pioneers of bluegrass. His singing in trios with The Osborne Brothers were enough to knock your socks off. They won a contract with MGM Records and appeared on the WWVA Jamboree from Wheeling, W.V. in the mid-50s. Differences of opinion over a progressive vs. traditional approach to their music probably led to them parting ways in 1958. Red Allen was a staunch traditionalist up until he started picking songs like “Proud Mary” later in life with his sons.

These two releases are monumental reissues. CD-1127 includes 23 tracks, five of which are previously unreleased cuts. After moving to Washington, D.C., in 1959, Red formed The Kentuckians with Frank Wakefield. Six cuts capture the creative relationship that they enjoyed before they went their separate ways in 1964. The Kentuckians’ “solid bluegrass sound” was then built around good song selection, exceptional instrumental work, and excellent harmony. The previously unreleased cuts include three with Frank Wakefield (Don’t Lie to Me, Lonesome Weary Heart, I Don’t Believe You’d Do Me Wrong), and two with The Kentuckians (If That’s the Way You Feel, Purple Heart). Red Allen and Frank Wakefield’s renditions of “Little Birdie” and “Sad and Lonesome Day” are truly classics. Of special merit are those songs that are still standard bluegrass repertoire today like Close By, Out on the Ocean, Hello City Limits, Down Where the River Bends, and The Family Who Prays. Two different versions of “Froggy Went A Courtin’,” the old folk tune done bluegrass style are offered.

CD-1128 has 25 tracks and includes two entire albums from the County label recorded in 1965 and 1966. When originally released, County-704 and County-710 met with mixed reviews. In the first issue of Bluegrass Unlimited, Richard Spottwood wrote that the first album was “grass of the high quality we’ve come to expect from this group, although a fairly large proportion of the songs are derived from other records by Flatt & Scruggs, Johnnie & Jack, etc. The recording suffers from over-brilliance, but this will not disturb most.” Joining Allen were Bill Yates, Wayne Yates, Porter Church and Richard Greene. The Louvin Bros.’ song, “Seven Year Blues” is previously unreleased.

Regarding County-710, Spottswood said “Neither Red nor his fellow pickers are inspired here, with the exception of dobroist Wingfield. If the rest of the picking had been up to his level, this album would’ve been truly exceptional. It’s a good set, though, and if you have Red’s other albums you’ll enjoy this one too.” I offer these comments only to show how time and history can potentially alter our perceptions. Nowadays, many often prefer traditional covers performed with crisp, clean brilliance. And besides Red, the players that were being criticized for less-than-inspired playing include David Grisman, Porter Church, and Jerry McCoury. I found these players to be right on the money with these great old songs. One can hardly go wrong with classics like We Live in Two Different Worlds, Are You Waiting Just For Me?, My Baby’s Gone, Love Gone Cold, and Whose Shoulder Will You Cry On? The Roy Acuff number “Branded Wherever I Go” is previously unreleased.

In 1967, Allen moved to Nashville to temporarily replace an ill Lester Flatt in Flatt & Scruggs. In the late 1960s, Red Allen worked with J.D. Crowe and Doyle Lawson in the Kentucky Mountain Boys. With his sons Harley, Greg and Neal, Red performed together as “The Allen Brothers” in the early seventies. Neal died from pneumonia in 1974, while Harley is singer/songwriter in Nashville. In 1976, Red Allen retired from music due in part to health problems (open-heart surgery). In 1984, he formed “The New Kentuckians.” In 1992, he recorded an album with David Grisman, Herb Pederson and Jerry Garcia which was nominated for a Grammy Award. On April 3, 1993, Red passed away from lung cancer.

Red Allen’s classic work on the Melodeon, Rebel and County labels is part of the very foundation of traditional bluegrass. These reissues should be an integral part of everyone’s collection to highlight and document some key milestones in the remarkably talented guitarist and singer’s long and successful bluegrass career.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

Mount Zion – Still He Came
www.weeksmusicstore.com OR www.cdbaby.com
Playing Time – 31:20

Mount Zion is a Missouri-based bluegrass gospel band, and their debut release, produced by Ray and Jeff Deaton, indicates good preparation with song selecting and arranging for this album. Mount Zion’s quartet singing and bluegrass instrumentation are substantially rooted in tradition. It’s nice that lyrics are included in the CD’s jacket. The opener, “Send the Light,” is a call for the blessed gospel light to shine forever more. “Still He Came” is presented by the a capella quartet in a fine, cohesive fashion. “Steady as Mt. Zion” is a call to put your trust in the Lord. Band member Russ Weeks wrote “Last Days of Time” and “Hezekiah.” The latter song incorporates three Bible stories (those of Hezekiah, Tabitha, and Melchisedec) into one song. Some of my favorites on “Still He Came” include their more up-tempo numbers like “The Fourth Man” and “Standing on the Solid Rock.” Another is the call-and-response song, “Moses Prayed,” which is receiving good airplay around the country as a result of being featured on Prime Cuts of Bluegrass’ volume 69.

Mount Zion is Russ Weeks, Steve West, Tyler Weeks, and Roger Matthews. Russ Weeks is a long-time bluegrass musician who plays guitar, mandolin, fiddle and sings most of the lead vocals. Steve West (banjo, mandolin) has four decades of performing experience, with 30 years as a professional “country show” musician and owner in Central Missouri. In concert, their teen-aged bass player and singer Tyler Weeks occasionally dons the guitar and sings lead for a number during a Mount Zion set. Tyler Weeks has an exceptional bass voice. Roger Matthews is also an excellent musicians with decades of experience playing banjo and guitar, and singing baritone. He co-founded the group, Radio Flyer, with Irl Hees in the 1970s, and Matthews has performed for the past several years with Midnight Flight.

Mount Zion gets much of their inspiration from the award-winning bluegrass gospel group, Doyle Lawson & Quicksilver. They are highly entertaining and professional. Mount Zion leaves us with some exhilarating and heartfelt gospel messages, complemented by some adept picking. I can tell that their repertoire would be well received at both churches and festivals. Their ministry of music is characterized by a rousing and spirited sound.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

Randy Waller – Self-Titled
www.lendelrecords.com Playing Time – 48:57

Lendel Records is a new label created in 2003 to promote and serve the clients of Len Holsclaw’s Lendel Agency, in business since l971, which was the sole management and booking agency for The Country Gentlemen from 1971-1998. The label’s first album release showcases Charlie Waller’s son, Randy, who was born in 1959 and grew up with the bluegrass music of his father. In 1963, Charlie made a promise to one day give his 1937 Martin D-28 guitar to his son. After Randy’s graduation, he embarked on a solo career as a country musician and guitar teacher. It was on Christmas in 2002 that his father’s guitar was passed on to the next generation. Randy’s original song, “Daddy’s Old Guitar,” tells the story.

With this debut release, Randy returns to his bluegrass roots for the singer, songwriter and instrumentalist who is currently working with his father (since 2003) as a member of The Country Gentlemen. A short time after he started appearing with the group, fans started asking for an album that documents his impressive rendition of “Old Rugged Cross.” Waller penned some originals for the project including “The Vision,” “Little Red Shoes,” and “Rough and Ready.” These three numbers demonstrate Waller’s unique ability to successfully pen first-rate songs within the bluegrass gospel, western swing, and country genres.

Covers include Carl Jackson’s “Love’s Tombstone” and “Blue, Blue Morning” and “A Sad Song Don’t Care Whose Heart it Breaks.” and songs that were recorded by the Marshall Tucker Band (“This Ol’ Cowboy”) and Bonnie Raitt (“Give It Up or Let Me Go”). “This Ol’ Cowboy” has a nice beat and catchy little riff. Randy’s resonator guitar is a featured instrument on “The Ballad of Curtis Loew,” a story of a young boy’s friendship and respect for an old black dobro master who played the blues. Interestingly, that song also recently appeared on Larry Cordle’s “Lonesome Skynyrd Time” project.

The accompanists include a number of present and former Country Gentlemen. Jimmy Gaudreau’s mandolin and mandola are always a treat to hear. Eddie and Martha Adcock sing beautiful vocal harmonies. A friend from Randy’s teenage years, Mike Moore, was enlisted to play bass. Sammy Shelor (Lonesome River Band) picks the five-string banjo, and well-known Nashville session fiddler Aubrey Haynie offers some hot licks and fills. Tim Austin engineered the project.

Randy Waller certainly doesn’t sing with a high lonesome bluegrass sound. Instead, his full baritone gives a very smooth delivery that is equally comfortable with country, gospel, bluegrass and blues music. Randy’s diverse instrumental and vocal abilities will open many doors for him. Closer to acoustic country than hard-driving bluegrass, Randy Waller’s sound is very relaxed and enjoyable. His voice even reminds me, at times, of a young Merle Haggard. That’s the main reason why I really like this project.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

Shenandoah Blue - "Shenandoah Blue"
www.mastershieldrecords.com
EMAIL: vrodes [at] shentel.net
Playing Time – 42:51
Songs – Our Love Will Never End, Holding Things Together, Blue Frame Of Mind, I'm On My Knees, Rabbit Dance, Lean Upon His Word, That Certain Someone, When Fall's Coming Down, Lay It On The Line, I'm Afraid I Forgot The Feeling, Pressed Through The Crowd, Foggy Mountain Top

Shenandoah Blue’s music is anything but gloomy and dreary. In fact, their bluegrass is lively and spirited, and the band appears to have a natural inclination towards rollicking songs with a fresh contemporary sound. The quintet of young hotshots has an affinity for love songs, Gospel material, and they even serve up a smoldering instrumental called “Rabbit Dance” written by their banjo picker. About the bluest they come is on “Blue Frame of Mind,” one of four originals written by guitarist Jeff Presley and his father, Dean. The songwriting team also contribute “Our Love Will Never End,” “When Fall’s Coming Down,” and “I’m Afraid I Forgot the Feeling.” Jeff Presley is also one of two lead singers in the group. The other is David Propst (mandolin) who originally formed the group with banjo-player Scott Walker. Both Presley and Propst are robust singers who deliver with considerable passion and personality. Presley’s voice really shines on a slower, triple-time number like “When Fall’s Coming Down.” He delivers each lyric with intensity and convincing emotion. Propst’s best vocal showcase is on “That Certain Someone.”

The other members of Shenandoah Blue are Dave MacGlashan (bass) and Kevin Mallow (fiddle). Dave’s bass playing provides a rock solid foundation for the band, and Kevin’s twin fiddles on “When Fall’s Coming Down” are a highlight on the project. The band choses cover material from Merle Haggard, Jason Owen, David Marshall, Paul Adkins, Joe Isaacs, and A.P. Carter. David Propst did a stint with Paul Adkins & the Borderline Band, and that may be where he learned the song “Lay it on the Line.” All of the band members have considerable experience in many bands based in that region of the country. On the MasterShield label since May, 2003, they are poised for an excellent and successful future. Shenandoah Blue gives us a total bluegrass package built around their distinctive, contemporary material that is arranged in a way that also features their singularly impressive talents.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

Eddie Pennington – Walks the Strings…and Even Sings
Smithsonian Folkways Recordings SFW CD-40146
www.si.edu/folkways
EMAIL: atedford [at] shorefire.com or mhanks [at] shorefire.com or smithjm [at] si.edu or gustafsonm [at] si.edu
Playing Time – 56:11
Songs – 1.Walking the Strings, 2. Mose’s Blues, 3. Wabash Cannonball, 4. Information, Please, 5. John’s Smoke Turns Blue, 6. Home, 7. Nine Pound Hammer, 8. Pig Ankle Rag, 9. Raindrops, 10. Fertile Liza, 11. Stealing Time, 12. Sweet Georgia Brown, 13. The Pig Got Up, 14. Stone’s Rag, 15. Bye, Bye Blues, 16. So Round, So Firm, 17. The Panic Is On, 18. Bluebell, 19. Duncan and Brady, 20. Over The Rainbow

In the early days of country music, improvisers who didn’t read or write music were able to take their instruments and be flexible enough to adapt to most any style of music, other players, and vocalists. Chet Atkins’ group produced distinctive instrumentation with a relaxed, tensionless feeling and loose, easygoing beat. The commercial sound emphasized the guitar, and his basic style was patterned after that of Jim Mason, a black guitarist from Kentucky who played a “choke” style. Mason taught it to a white coal miner, Mose Rager, who taught it to Ike Everly (father of the Everly Brothers). Reger also taught Kentuckian Merle Travis who influenced Atkins’ playing.

Another skillful proponent of the Kentucky thumbpicking style (aka Travis-style picking) is Eddie Pennington who also hails from the Bluegrass State. As a teenager in 1974, Pennington began visiting Mose Rager at his Drakesboro, KY. home. These 20 tracks were recorded in 1994-96. He’s a man who clearly knows how to make his Git-box sing! Pennington plays a few from Mose Rager – “Walking the Strings” and “Mose’s Blues” and “The Pig Got Up.” He also picks a few from Travis (“Information, Please” and “So Round, So Firm”). Other tunes on the project credit William Kent, John Travis, Billy Grammer, Joe Maphis, Uncle Collie Barnes, Hezekiah Jenkins, Hal Riley, his father Norman, and his brother Larry. Perhaps his most impressive technical skill on guitar is demonstrated on “John’s Smoke Turns Blue” and “Over the Rainbow” and “Stealing Time.” The former has a genesis that takes it to an uptempo dazzler that exudes contagious energy.

Besides being a astonishing picker, Pennington’s baritone voice is well suited to humorous offerings like “Fertile Liza,” “The Pig Got Up,” “Information Please” and “The Panic is On.” Pennington has toured nationally as a member of the “Masters of the Steel String Guitar," showcased at the Kennedy Center and the Barns of Wolf Trap, and he received the prestigious National Heritage Fellowship in 2001 in recognition of his artistry and excellence in performing Kentucky thumbpicking-style guitar. Eddie also holds an Honorary Doctorate degree from Western Kentucky University. The National Thumbpicking Champion in 1986 and 1987, Pennington was inducted into the Thumbpickers Hall of Fame in 2003.

Eddie Pennington sure knows how to tickle the strings … and he even sings. This album on the Smithsonian Folkways label is a real treat to hear in that it documents and will help spread the sound of one of American’s living national treasures. Pennington has six other projects available that were released between 1993-2000. It’s uncertain if any of the cuts on those projects duplicate those on this release. A 24-page CD booklet provides excellent notes from Joe Wilson (Director of the National Council for the Traditional Arts) and Dr. Erika Brady (Professor of Folk Studies and Anthropology at Western Kentucky University). Check out this amazing guitar picker who performs with distinctive aplomb.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

King Wilkie – Broke
Rebel Records CD-1802
www.commotionpr.com OR www.kingwilkie.com
Playing Time – 36:48
Songs - 1. 40 West 2. It's Been A Long Time 3. Broke Down And Lonesome 4. All Night Blues 5. Blue Yodel #7 6. Goodbye So Long 7. Little Birdie 8. Where The Old Red River Flows 9. Sparkling Brown Eyes 10. Lee And Paige 11. Drifting Away 12. Some Glad Day 13. 40 West

Their name inspired by Bill Monroe’s Tennessee walking horse, King Wilkie is a Virginia-based band that plays bluegrass that really gallops. While only in their twenties, their high-stepping traditional approach to the music illustrates the horsesense that often only comes with years of experience. King Wilkie’s first album, “True Songs,” was an independent release in 2003. Now, with their sophomore release, they have the support of the reputable Rebel Records label. The band plays well together with a feisty energy full of bluegrass oats, and their lively set on “Broke” offers plenty to enthuse fans of all ages.

Just as they might open a bluegrass festival set, they blaze from the chute with a one-minute version of Ralph Lewis’ “40 West.” Tapping material from the backroads of the genre, they give us snappy renditions of the traditional “Little Birdie,” Jimmie Davis’ “Where the Old Red River Flows,” and Jimmie Rodgers’ “Blue Yodel #7.” They cover Bill Cox’s “Sparkling Brown Eyes” and Will Ramsey’s “Some Glad Day.” Between band members Ted Pitney (lead guitar) and Reid Burgess (mandolin), the CD also includes six original tunes that offer some memorable lines such as Pitney’s “drifting away into loneliness,” and Burgess’ sentiments to “head down south to that old abode.” These are very common themes in bluegrass music and the subject matter for traditional music lovers. With their songwriting, I would encourage them to respect these traditional themes but to also strive for new inspirational messages that tell us things that haven’t been heard before. Pitney, for example, gives us a sad and tragic ballad with a new interpretive twist called “Lee and Paige,” about a young loving couple’s encounter with a train. “Broke Down and Lonesome” is getting some good airplay as a result of being featured on Prime Cuts of Bluegrass, Volume 68.

Pitney and Burgess met at college in Ohio in 2000. After graduating in 2001, they moved to a Charlottesville farmhouse and got the band together that now also includes Drew Breakey (bass), John McDonald (guitar), Nick Reeb (fiddle), and Abe Spear (banjo). Pitney, Burgess and McDonald are the sextet’s vocalists. King Wilkie is a band with a lot of horsepower. Galloping in a traditional groove, they will go far on the bluegrass festival and concert circuit.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

Hit & Run Bluegrass – Beauty Fades
rebecca [at] hitandrunbluegrass.com OR hitandrunbluegrass [at] hotmail.com
www.hitandrunbluegrass.com Playing Time – 41:12

Hit & Run Bluegrass is a Colorado-based band that formed in late 2001. During their short time together, they have already made history by becoming the only band to win both prestigious band contests at Rockygrass and Telluride. Grammy winner Gene Libbea (formerly with the Nashville Bluegrass Band) joined Hit & Run Bluegrass as bass-player/singer for six months in 2003, produced their studio demo, and served as a coach and mentor to them.

For their debut album, the band saved for over six months with the goal of recording the highest quality album possible. In July 2003, they convened at Doobie Shea Studios in Boones Mill, VA and now have a very impressive recording called “Beauty Fades” under their belts to showcase their “authentic-yet-modern” bluegrass. First class fiddler Aubrey Haynie appears as a special guest.

Todd Livingston is the 2001 Rockygrass Dobro Champion and the writer of “Get Outta Town,” a technically impressive instrumental that pushes the newgrass envelope. John Frazier’s mandolin playing and singing are very proficient, and he contributes three well-penned and thoughtful original songs that he also sings lead on (Trouble & Pain, Cold Iron Door, Goin’ Back to Georgia). “Cold Iron Door” was one that helped them win the Telluride band contest. Banjo champion Aaron Youngberg hails from Fort Collins, CO., and he composed the high-stepping instrumental “Coach’s Stomp.” Erin Coats, from Wyoming, may only be 21-years-old but she’s been playing bass since age nine. The stalwart vocalist sings lead on two numbers (Old, Old House; How I Curse That Man). Originally from Virginia, guitarist Rebecca Hoggan has expert command of her flatpicking and singing abilities. She composed “Beauty Fades” and “How I Curse That Man,” and she sings lead on five songs that also include some selected covers from Porter Wagoner, Rowland Salley, Lisa Aschmann & Mark Simos, and Mitchell Jayne & Joe Stuart.

Among the most promising young bands in the nation today, Hit & Run Bluegrass has clearly emerged as a major force in the market as they introduce a younger demographic to their large body of original music. At the same time, they’ve managed an enchanting magnetic sound that also thrills long-standing bluegrass fans who simply know and enjoy good bluegrass. If these friends can keep it together, stay focused on their band’s goals, maintain their heavy touring schedule, then their greatest is yet to come. They’ve already accomplished a lot, more than many bands can in a lifetime.

This debut album shows that Hit & Run Bluegrass has their music and professional presentation under control. Their business acumen is also top-notch, and bookings will allow us to see them at festivals and venues throughout the west. Pacific Northwest audiences will be able to hear them at the 2004 Bluewaters and Mt. Hood Festivals in August. My only suggestions for them would be to book some more appearances back east, include the lyrics for their originals in future CD jackets, and use a larger font for their liner notes! Although my eyes may be getting a little fuzzy with the fine 8-point print, my ears are still sharp enough to tell me that Hit & Run Bluegrass is a band clearly marked for great future success.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

New Girls Nite Out "Movin’ On"
www.newgirlsniteout.com email: BassLadyGNO@aol.com
Playing Time – 33:57
Songs – Muleskinner Blues, On the Far Side Banks of Jordan, Rawhide, I’ll be All Smiles Tonight, Milk Cow Blues, I Dreamed I Went to Heaven, I am Weary Let Me Rest, Back Up and Push, The Crawdad Song, Cattle Call, Black Mountain Rag, Down to the River to Pray

Prior to the 1960s, women were rarely seen in bluegrass bands, but the growth of the genre has led to the music being widely accepted and practiced among all. Besides family bands and foreign groups, another unique and novel occurrence is the all-woman band. Virgina-based New Girls Nite Out is a six-piece outfit that has played regularly for the past decade at weddings, parties and festivals, primarily throughout Virginia. They perform a varied mix of standard bluegrass songs, along with some not so often heard and even a few Gospel, folk, ballads, instrumentals and western swing numbers. Their debut album, “A Dream Come True,” was released in 2000, the same year they took home second place in the Virginia State Bluegrass Band Contest. Although the band has undergone some personnel changes, their sophomore album, “Movin’ On,” is a spirited, energetic and eclectic project that showcases the individual skills and abilities of six talented women bluegrass musicians.
Back in the 70s, Carol Duke played rhythm guitar for an all-girls band, “The Dixie Bells,” but her recently renewed interest in bluegrass led to her taking up the banjo about three years ago. Jean Bazzanella, a founding member of New Girls Nite Out seven years ago, is the bassist, manager, and booking agent for the group. She owns a campground and promotes The Christopher Run Bluegrass Festival. Barbara Kaye, a classically trained violinist, has played classical, bluegrass, country, Latin, Gypsy jazz, swing, Cajun, Zydeco, and French cafe music in various musical configurations. Guitarist Cyndi Mahler, originally from Indiana, grew up with music and was strongly influenced by The Carter Family. A native Virginia, Shelby Hill, has been singing, playing and yodeling all her life. Another native Virginian, Nancy McCloud, plays the mandolin and sings on this project.
The strengths of The New Girls Nite Out lie in their diverse choice of material, from fast to slow, and their ability to present it in a cohesive way. Their instrumental work, albeit nothing flashy, is solid and proficient. They clearly work well as a team and know how to share the spotlight to feature the many talents in the band. Of particular note is the fact that they have four lead vocalists, Hill, Mahler, Kaye and McCloud, each with unique vocal qualities and abilities. Hill is equally comfortable with the driving “Muleskinner Blues,” as she is yodeling “Cattle Call” or her original “I Dream I Went to Heaven.” The latter might have been enhanced by presenting it in a slightly higher key. Mahler sings with a sweetness of tone and purity on Terry Smith’s “On the Far Side Banks of Jordan” and Pete Kuykendall’s “I Am Weary, Let Me Rest.” Kaye offers words I’ve never heard for the fiddle tune, “Back Up and Push.” McCloud’s lead vocals on “Milk Cow Blues” impart a bouncy intensity perfect for the standard western swing piece.
The New Girls Nite Out are more than just another novelty band, and this project reinforces an important point. Girls Can Pick! This band deserves a wider listen, and I suspect that this new project will help them to build a larger fan base and take them to more venues up and down the East coast, as well as throughout the southeast. Besides appearing in Kentucky in 2004, they’ve also already been booked for the Valerie Smith Cruise in February, 2005. Another of their goals is to encourage and inspire more women to take up bluegrass music, and I commend them for their dedication to the music and its growth.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

Kenny and Amanda Smith Band "House Down the Block"
www.rebelrecords.com
EMAIL: tgarber@rebelrecords.com
www.kenny-amandasmith.com Playing Time – 36:34
Songs – 1. Where Love Went Wrong, 2. I Know Where Love Lives, 3. The Girl Next Door, 4. Without A Trace, 5. It's Not The Wind, 6. All She Ever Wants, 7. I've Traveled Down This Lonesome Road Before, 8. Song For Emily, 9. Why Don't You Just Say Goodbye, 10. Stay A Little Longer, 11. House Down The Block, 12. Never Win Again, 13. Big Ball In Boston

Kenny Smith’s rock solid guitar work with the Lonesome River Band from 1995-2001 twice led to his winning the IBMA’s "Guitar Player of the Year" award. Smith’s solo project, “Studebaker,” showcased his songwriting abilities and talented wife’s soulful singing. A couple years have now passed since Kenny and Amanda Smith turned plenty of heads with their gem of a bluegrass album, “Slowly but Surely” (Farm Boy FBR-1001), that included band members Ronald Inscore, Jason Moore, Steve Huber, and Ron Stewart. It helped formulate the band’s original, contemporary sound characterized by beautiful vocals, expert picking, solid arrangements, excellent repertoire, and high recording quality. It also resulted in the band winning IBMA's 2002 Emerging Artist of the Year award.

The band has had a couple personnel changes, but mandolinist Ron Inscore and banjo-player Steve Huber are still with the Smiths. You may remember that Inscore played with Tommy Long and Rick Pardue, and his rhythm chop and engaging breaks are a key part of any band’s sound that he is involved with. And, Huber, from Pennsylvania, has played with Bob Paisley & the Southern Grass, Paul Adkins, Lonesome Standard Time, 1946, and Chris Jones & the Night Drivers. In 1997, Steve started a banjo tone ring business and he now builds the Huber line of banjos in Nashville. His solo project entitled “Pullin’ Time” was released in 1995. A relative newcomer to the band is bassist Greg Martin, from South Carolina, who has played with Southern Drive and New Vintage. With this latest lineup, I must admit that I do miss the fine bow work of fiddler Ron Stewart. “House Down the Block” is another milestone for the band, as it marks their debut on the well-respected Rebel Records label.

Versatility has always been a prime vision for the band, and they appear equally comfortable with up-tempo driving bluegrass (“Big Ball in Boston” or “I Know Where Love Lives”), moderately-paced lyrical pieces (“It’s Not the Wind”), ballads (“All She Ever Wants”), western swing (“Stay a Little Longer”), or country (“House Down the Block”). Three songs were written or co-written by Kenny Smith, and Tim Stafford and Becky Buller each contributed a couple to the project. Given the group’s desire to cover many musical moods, I wish that at least one of the thirteen tracks would have really slowed things down to show what they can do with a leisurely tear-jerker. On the other hand, this CD has a lot of hustle, with plenty of fiery picking and snappy vocals. Live in concert, I get the feeling that the Kenny and Amanda Smith Band could really raise a ruckus among an audience with their high-geared music. They’re full of get-up-and-go, and that’s the way I like my bluegrass. With some hot fiddle in the mix, this project would’ve been an “11” on the scale of one to ten.
Joe Ross

Kenny and Amanda Smith "Slowly But Surely"
Farm Boy FBR-1001
PO Box 825, Meadows of Dan, VA 24120
www.kenny-amandasmith.com
Email: smithband@acutab.com

Songs: 1. Amy Brown 2. Slowly But Surely 3. It's Over 4. Only Sailors 5. I Hung My Head And Cried 6. Mary Goes Around 7. Winter's Come And Gone 8. Crying For Crumbs 9. Nancy Jane 10. Because Of You 11. Come Along Jody 12. River Of Regret 13. Will I See You Again Someday

Many know Kenny Smith from his rock solid guitar work with the Lonesome River Band from 1995-2001 which led to his twice winning the IBMA’s "Guitar Player of the Year" award. Smith’s solo project, “Studebaker,” had us take note of his songwriting abilities and also introduced us to his lovely and talented wife of six years, Amanda, whose soulful singing makes us sit up and listen closely.
When the couple decided to embark on this latest project, “Slowly But Surely,” they assembled a band of tasteful musicians to give their debut album a unique, original sound. Ronald Inscore (mandolin), Jason Moore (bass), Steve Huber (banjo), and Ron Stewart (fiddle) do just that by ably contributing some tight picking with drive to the Smiths’ arrangements of contemporary bluegrass and Gospel. Sonny Smith plays banjo on one track (River of Regret), and Ronnie “Buck” Freeland offers light percussion on “Nancy Jane.” The songs include a nice mix of original material, as well as some old, but reworked, classics from the bluegrass, country and western swing repertoire. This album has many strengths - beautiful vocals, expert picking, solid arrangements, excellent repertoire, and a high recording quality. Simply put, it’s a bluegrass gem.
We'll be hearing more from Kenny and Amanda Smith, and I hope that they'll be touring with a band as fine as the one put together for this recording project.

Joe Ross
http://www.talentondisplay.com/joerosshome.html

Jeannie Seely "Life’s Highway"
OMS Records OMS-25160-2
www.omsrecords.com
Email: info@omsrecords.com
Playing Time – 42:28
Songs – Life’s Highway, The Next Voice You Hear, Fast Movin' Train, I'll Be All Smiles Tonight, The River, I've Got My Baby on My Mind, The Good Old Days, It's a Heartache, If It Ain't Love, Rose in the Riverbank, Roarin' and Runnin', Cry Myself to Sleep, Call of Kentucky

A Grand Ole Opry star since 1967, Jeannie Seely now has a bluegrass album that opens with a song of hope, Life’s Highway. She no doubt hopes to capitalize on the recent bluegrass boom, and “Miss Country Soul” hopes to place another hit on the country chart as she did for 13 consecutive years from 1966-1978. Her first big hit, “Don’t Touch Me” (written by her husband, Hank Cochran) won her the 1966 Grammy for Best Country Female Vocalist. She’s worked with Ernest Tubb, Jack Greene, and Porter Wagoner.

The picking and singing party for this record assembled many of Jeannie’s friends and Grand Ole Opry family, along with some Nashville session musicians. The core band on this 13-song project include Kevin Grantt (bass, 13 tracks), Glen Duncan (fiddles, 13 tracks), and Jim Brown (guitar, 11 tracks). Guest players include co-producer Hugh Moore (banjo, 6 tracks), Buck White (mandolin, 4 tracks), Josh Graves (dobro, 3 tracks), Rob Ickes (dobro, 3 tracks), and co-producer Billy Troy (guitar, 2 tracks). Appearing on one track apiece are Jesse McReynolds (mandolin), Steve Wariner (guitar), Sonny Osborne (banjo) and Bobby Osborne (mandolin). Harmony vocals are sung by Terri Williams, Sharon White, Cheryl White, Billy Troy, Jennifer O’Brien, Hugh Moore, Charlie Louvin, and Bobby and Sonny Osborne.

Seely is equally comfortable with older country numbers such as A.P. Carter’s “I’ll be All Smiles Tonight,” as she is with covers Dolly Parton’s “The Good Old Days” and Garth Brooks’ “The River.” “It’s a Heartache” and “I’ve Got my Baby on my Mind” adapt well to bluegrass arrangement. However, I can’t help but recall Southern Connection’s excellent, driving version of Dallas Frazier’s “If It Ain't Love” in comparison to Seely’s rendition. Seely contributes two originals, “Call of Kentucky” and “Roarin’ and Runnin’” to this album, and both are given good bluegrass treatment. The same goes for Billy Troy’s originals, “Fast Movin' Train” and “Rose Upon the Riverbank.”

For four decades, Jeannie Seely has been on life’s highway, always dedicated to her music. At age 63, she knows the business and is apparently looking for new ways to revitalize her sound. Rediscovering traditional roots music is a commendable venture for Nashville stars, and Seely takes a slightly different approach by working up bluegrass and acoustic arrangements of songs more commonly associated with the country genre. It’s another side of the singer from Titusville, Pennsylvania that we didn’t really know. It would have been fun to hear bluegrass versions of some of her old hits like “Can I Sleep in Your Arms Tonight, Mister?” or “A Wandering Man” or “He Can Be Mine.” Her fans will be especially pleased with this acoustic recording, although true bluegrass aficionados may only give this CD a luke warm reception.

Joe Ross
http://www.talentondisplay.com/joerosshome.html

Review of 'Living in These Times' by David Rovics

This is a remarkable album. David Rovics has always promised (threatened?) to become a top international folk / protest / roots / workers singer songwriter - just listen to 'Glory and Fame' - and I am happy to report that this promise has now been fulfilled. His radical, bittersweet lyrics that hit home phrase after phrase, his accompanying picking guitar style with its immaculate polish and ringing tones, and his expressive and adequate voice combine to achieve what he has obviously set out to do. This purpose in life must surely have been to express himself and his political views in the best medium available to him.

Ok - you have me sussed - I am a fan. For the type of music he plays - that narrative ballad that tells of deeds and stories - is sadly becoming a bit of a specialised taste. His politics, far to the left of anything in mainstream political parties these days, will also be unusual to many of today's young people. This is one reason why this album will not get the audience it deserves. Another reason for the smaller than deserved distribution is that David Rovics has produced this CD entirely by his own efforts and risk. In these days of multi-millionaire ex-'street fighting men', and environmental campaigning singers who never the less do adverts for Jaguar Cars! - here is a true indie CD!

David Rovics seems to permute every pore of this product - he writes all the songs (and so topical and relevant they are!), sings all the verses, plays all the music, he's on the cover. You even get the impression in one track that he is singing all the audience choruses as well! However - without the big distribution network of the record companies, success will be measured in hundreds of sold copies, rather than in millions.

Which is of course sad for a fan like myself. I think there are at least three songs on here that could make the 'charts' and certainly be hits. All of them deserve a listen - many of them will repay replay after replay. The CD is also a complete package of contemporary left thought from the eyes of the thinking Westerner - most of the songs were composed I would guess in the last two years by our prolific subject.

Well - is there anything about it I don't like? I think some of the song intros can go on too long - which on a recording you will hear many times can get tedious. As the songs are all written in a short space of time there is a natural 'sameness' to them that maybe a cover version of some one else's song may have broken up. David Rovics is completely solo in all the recording on this; and that is a remarkable achievement in itself - but I for one prefer the 'downloadable' version of St Patrick's Brigade' to the one on the CD' as there is another voice helping the chorus, and a lovely interlude of electric guitar (or was that also you David?). The packaging may have benefited from sleeve notes - maybe that would have been a good place to put the intros? Lastly - there is a lot of message in these tracks - as there must be 'Living in These Times' - but I would have liked to have heard a little more of David's superb playing. I doubt if the emperor would say to you 'too many notes Mr Rovics'!!

Of course these are very minor points. I put the CD into my Computer, and Windows Media Player shows each track as 'Unknown Artist'. Looks like Microsoft have it all wrong again!

Review of 'Living in These Times' by David Rovics was by Cliff Moore (07/12/2001), Harlow, Essex, England cliff.moore@talk21.com

This CD can be bought online from David's website, or in the case of difficulties contact me and I will sell you one! Check out his web site for further details:

DRovics@aol.com

(617) 747-4460 (voicemail) (203) 901-3306 (cell) P.O. Box 995 Jamaica Plain, MA 02130 (USA) http://www.davidrovics.com/ (or http://members.aol.com/drovics/home.htm) www.folkweb.com/davidrovics
www.mp3.com/davidrovics

Kathy Kallick "Reason & Rhyme"
Copper Creek CCCD-0215
www.coppercreekrec.com
Email: info@coppercreekrecords.com OR greg@coppercreekrecords.com OR KathyK@kathykallick.com
Total Playing Time – 60:01
Songs - 1. I Once Loved 4:55, 2. Trumpet Vine 4:44, 3. Coastal Fog 4:00, 4. The Words You Don't Say 4:07, 5. Good To Me 4:30, 6. You Took Me Away 2:36, 7. Just A Song 2:55, 8. Love You On A Train 3:19, 9. Rustler’s Moon 3:45, 10. Lone Pilgrim 4:52, 11. Take Care Of Your Little Girls 3:44, 12. Handsome Cabin Boy 5:02, 13. Hard To Let Go 2:58, 14. What A Night 4:04, 15. Bring Me Back To You 4:19

San Franciscan Kathy Kallick is a mountain gal at heart. An experienced musician, she cut her teeth on bluegrass and put out several albums with the Good Ol' Persons. She then recorded her first solo album (“Matters of the Heart”) in 1993. “Use A Napkin [Not Your Mom]” and “Call Me A Taxi” followed in 1995 and 1996, respectively. Her own Kathy Kallick Band formed in 1997, and they issued “Walkin' In My Shoes” at the end of 1998. Kallick’s only album with no original compositions, “My Mother’s Voice,” came out in 2001.

Her singing has always been earthy and passionate. As a songwriter, she knows how to pen beautiful impressionistic pieces with memorable contemporary messages. Over ten years since Kallick’s “Matter of the Heart,” her first foray into contemporary folk music, “Reason & Rhyme” is her long-awaited return to the beauty of the singer/songwriter tradition. While it may be that love is “beyond all reason and rhyme,” this album gives us a logical, well planned, and thoughtful presentation of her next round of original material. Best categorized as acoustic Americana, it has apparent influences from many stylistic genres of music from folk to Celtic, and country to bluegrass. The result is some fresh sounding tuneful fare that acoustic music lovers will immediately embrace. With its diverse influences, “Reason & Rhyme” might seem like a big step from bluegrass, but the roots are still there.

A troubadour and exquisite storyteller, Kallick solely wrote nine of the songs that embrace the human spirit and tell life-affirming tales. She collaborated with Scott Nygaard to pen “Love You on a Train,” while Nina Gerber is also credited with composing “Take Care of Your Little Girls.” A splendid country number with hit potential, “The Words You Don’t Say,” was co-written with James Leva and Carol Elizabeth Jones. A Kate Wolf cover (“Trumpet Vine”) and two traditional songs (“Lone Pilgrim” and “Handsome Cabin Boy”) round out the album. All lyrics are included. The fifteen songs span an hour in total, and the songs are given liberally-timed arrangements (most spanning 4-5 minutes each) that leisurely allow the songs’ messages to share the spotlight with her fine, proficient instrumental accompanists.

The album opens with “I Once Loved,” played and sung by a full band that includes Scott Nygaard, Herb Pedersen, Amy Stenberg, Brian Wicklund, John Reischman, and Cindy Brown, the same configuration featured on “Coastal Fog” and almost the same assemblage on the album closer, “Bring Me Back To You.” Track four, “The Words You Don't Say,” introduces her friends Laurie Lewis (fiddle, vocals), Tom Rozum (mandolin, vocals), and Sally Van Meter (dobro). The arrangements are tightly crafted, with each song given its own non-formulaic treatment. Interspersed with those given a fuller approach are some wonderfully-lean offerings like “Trumpet Vine” and “Just a Song” and “Take Care of Your Little Girls” that showcase Nina Gerber’s powerful guitar work. Equally impressive on his instrument, Scott Nygaard adds a second guitar for interplay with Nina’s on “What a Night.” Another pleasant surprise is the five-minute plaintive folk ballad, “Lone Pilgrim” in which Kathy’s mournfully sweet voice is accompanied only by Laurie’s fiddle that sounds much like a Swedish hardanger. A cameo appearance by Peter Rowan is made on “Rustler’s Moon,” a song inspired by the late Charles Sawtelle, while Todd Phillips and Stuart Duncan join in on “Hard to Let Go.”

“Reason & Rhyme,” Kathy Kallick’s lucky thirteenth album release, will hopefully bring her more of the fame and fortune she deserves as a profound songwriter and expressive singer. She and her musical friends give us a gripping performance on it.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

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Dean Sapp & Harford Express "Coal Black Gold"
Email: bby2yrold@yahoo.com OR sapp8256@earthlink.net
www.deansapp.com
Playing Time – 47:37

Maryland-based Dean Sapp formed his first band back in 1969 and has released many albums since 1987 that emphasize his dedication to traditionally-based bluegrass with lively instrumental work and balanced vocal harmonies. The band’s sound is also built around their presentation of a fair amount of original material. I believe that this is their tenth album. “Coal Black Gold” introduces five original cuts penned by Sapp or the band’s mandolin player, Dan Curtis, from Baltimore, who has played with Walter Hensley, Foggy Bottom, Leon Morris, and Eastern Heritage, and many others.

Most of Sapp’s songs are inspired by experiences in life or dreams. “Heart Full of Trouble” is a strong original with a cute hook. “The Lucketts Ghost” is a spooky tale of a Civil War soldier’s ghost. Sapp’s “The Traveler,” a ballad about ex-lawyer turned hobo, suffers slightly from its lengthy arrangement that spans six minutes. Additional material on this project comes from Wendy Miller, Rodney Kent Dowell, Dixie Hall, Lester Flatt, Allen Reynolds, Mike Van Hoy and more. I enjoyed their instrumental bluegrass version of the old favorite, “Never on Sunday.” They also tear up “Kentucky Chimes” and Curtis’ “Wyman Park March.”

The band plays a variety of family venues, and they’ve also backed up Mac Wiseman, Bill Grant and Delia Bell, and others on occasion. Besides their original material, the band keeps Dean Sapp’s bassy lead singing in the forefront. “Coal Black Gold” was recorded at Dixie and Tom T. Hall’s Studio in Franklin, TN. The Halls and Sapp have known each other and respected each other’s music for many years. After Sapp repaired Hall’s Gibson F-5 Lloyd Loar mandolin, the band was invited to stay with the Halls when they played the Station Inn in Nashville a few weeks later. This album project was conceived a short while later, and it includes Miss Dixie’s “The Farm,” a song with a plea to not sell the farm. The title cut of this project was written by a songsmith in Sapp’s area, Ronnie Simon, who grew up in the Carolinas and writes about what he has lived. Simon writes with a contemporary flair that reminded me of Dallas Frazier and his hit, “California Cottonfields.”

Dean Sapp’s musical family roots go back to Virginia and North Carolina, where he started playing guitar at age six, seeing all the famous bluegrass musicians touring through the area, and playing in bands with his his uncles, Sonny and Johnny Miller. Besides guitar, Dean has also mastered the banjo, mandolin, dobro, and bass. As a partner in a bluegrass music shop, Dean gives lessons on all bluegrass instruments, buys and sells instruments, and repairs guitars. “I really do live for bluegrass music,” he once said.

Besides Sapp’s guitar and vocals, many came to know The Harford Express sound as Dan Curtis on mandolin, George Osing on banjo, and Bill Graybeal on bass. On “Coal Black Gold,” however, Sapp and Curtis are joined by Darin Hirchy (bass) and Ben Sapp (banjo). I’m not certain how long this current configuration of the band has been together, but I do wish that they had also included a hot guest fiddler and/or dobro player because the types of songs they choose to play would certainly benefit from those additions in their mix. Sapp once told me that they work as a four-piece band because they want to and that he has tried using fiddle and dobro players but became very unhappy with the sound. On this album, Sapp says he wanted a “very warm sound and feel instead of the over produced projects we seem to be bombarded with lately.”

Dean Sapp is clearly dedicated to bluegrass music, although he draws from a wider range of musical experience to define his own musical style within the genre. He apparently sings those songs which really move him, and I’m sure you’ll find some offerings that also move you on “Coal Black Gold.”
Joe Ross
http://www.talentondisplay.com/joerosshome.html

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The Dunton Sisters "Singing in my Heart"
Email: Duntonsisters@hotmail.com OR Bcthurber@aol.com
WEBSITE: www.duntonsisters.com
Playing Time – 35:09
Songs – 1. I Want to be Loved, 2. Oh Darling, 3. You’ve Got Me Smiling, 4. If You Only Knew, 5. My Baby Came Back, 6. Making Believe, 7. Endless Highway, 8. Pick the Stars, 9. Come Back, 10. He’ll Set Your Fields on Fire, 11. Blue, 12. The Reckoning Time, 13. Singin’ in my Heart

After hearing The Dunton Sisters at the Bluegrass First Class Festival in Asheville, N.C., Ralph Stanley exclaimed, “Boy, I tell you, these girls can sing, can’t they?!” Their repertoire covers a multitude of songs from bluegrass to folk, country to swing, and Gospel to blues, material drawn from such diverse sources as the Bailes Brothers, Louvin Brothers, Andrea Zonn, Larry Rice, Jimmy Work, Louisa Branscomb, Eric Bibb, Jerry Cohen, Roger Rasnare and others.

The Dunton Sisters are guitarist Jen and mandolinist Bev, along with their mother Gae on string bass. While the liner notes indicate that Gae adds a third harmony to several of the songs, individual song credits show that all of the songs on this project are sung as duets. I guess that she adds a third part here and there on live shows. Some of the songs, “Endless Highway” and “If You Only Knew” for example, could have been enhanced with a third vocal part in the mix. Jen primarily sings the lead, but their vocal arrangements of “My Baby Came Back” and “He’ll Set Your Field on Fire” have Bev on lead. The rest of the band includes Michael Savatgy (banjo) and Bryan Thurber (fiddle). Guest artists include David Keenan (guitar, 5 tracks), Tom Moran (mandolin, 4 tracks), Matt Weiner (bass, 2 tracks), Paul Elliott (fiddle, 1 track), Orville Johnson (dobro, 1 track) and John Miller (guitar, 1 track). The Northwest is proud to have such good acoustic musicians in our neck of the woods.

The Dunton family is well steeped in tradition. Granddaddy Dunton performed in a gospel quartet and brought both his love for family and music to Washington state. Jen and Bev’s father was a singer, pianist, and guitarist. Their bass-playing mother is also a pianist, violinist and church choir director. According to Jen, “They sang duets together until they got snowed under with eight children. Music in our family goes back in every vein as far as we can remember…Vaudeville, live pianist for silent movies, opera, even the current jazz scene.”

The family clearly has eclectic musical interests, and that may explain their varied repertoire. Besides their blended harmony, their song selection is a definite strength. A respect for the roots of the music sets the stage with “I Want to be Loved.” Excellent not-so-often heard songs for their stylings are Andrea Zonn’s “Oh Darling,” Louisa Branscomb’s swingy “You’ve Got Me Smiling” and Freddie Hart’s “Blue.” One never tires of Jimmy Work’s “Making Believe,” a song that has been recorded by the likes of Kitty Wells, Wanda Jackson, EmmyLou Harris, Conway Twitty and Loretta Lynn. When someone once told the songwriter that the song might get worn out, he responded, “they are just polishing it.” That’s exactly what The Duntons do with a number like Janice and Bud Merritt’s “The Reckoning Time.” Originally recorded live by the Merritts, the Duntons now give it a beautiful gloss and shine that the song deserves. Although not familiar with songwriter Jerry Cohen, he pens some nice pieces with “Pick the Stars” and “Come Back.”

Carrying on their family tradition, “Singing in my Heart” is a very pleasant showcase for these two talented sister songbirds. Their brief flute duet interlude on the title cut/album closer shows even another dimension of their musical abilities. Eric Bibb’s love song states, “You are the song, singing in my heart, a melody in harmonies, familiar from the start.” Love of family, love of home, love of God, love of music, and love of song. These are the things that Jen and Bev Dunton sing about, and these two women have a bright musical future ahead of them. They should consider producing their next album in Nashville. Who knows where it could lead them! They have the potential to go as far as their desires and aspirations take them.

Joe Ross
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Mark O'Connor "Thirty-Year Retrospective (2-CD Set)"
OMAC Records – 5
EMAIL: Ejpryor@aol.com
www.markoconnor.com
Playing Time – 76:17 (disc one), 76:27 (disc two)

Technical acoustic proficiency at its finest! There are few superlatives available to describe this two-CD celebration of Mark O’Connor’s first 30 years in the music business. The words “bardacious” and “splendiculous” come to mind. This album’s music is almost too sweet for words. The Grammy Award winner and master of many styles and moods assembled three other instrumental wizards, Chris Thile, Bryan Sutton and Bryon House, for a series of three phenomenal unamplified concerts on July 3-5, 2002 at Ingram Hall at Vanderbilt University in Nashville. They were history in the making and provided a great overview of O’Connor’s fiddling interests in swing, Texas style, jazz, classical, bluegrass and newgrass. With the exception of O’Connor’s concertos for violin and orchestra, nearly every genre that O’Connor has recorded is nicely represented. On a 2.5-hour project like this, we must also recognize the excellent recording engineers (Gary Paczosa, Marshall Morgan, Thomas Johnson, and Adam Beard) for their important contributions. The outcome is phenomenally clean and balanced, although one can’t help but wonder and speculate how the project might have turned out differently in a recording studio. Would the sound been even better? Would the energy from live performance been sorely missed? Would some tracks have introduced guest banjo, dobro or other virtuoso players?

There are times that one might think that O’Connor or his fiddle are bewitched, especially as the program moves from such diverse offerings as “Jesse Polka” to “Swingin’ on the ‘Ville” to “Send Rainbows.” The hot picking definitely calls an occasional whoop or shout in glee, but the audience does practice considerable restraint and respect to the live recording process. I am always cautious and a bit apprehensive about tracks that span more than seven minutes. O’Connor offers six cuts that fit this criteria, with the 12-minute “Soft Gyrations” greatly exceeding the others. The violinist and composer demonstrates his mastery of arranging and incorporating dynamics to take us on musical journeys wrought with imagery and fantasy. It should also be emphasized that all songs, with the exception of four from the public domain, one from Bill Monroe, and one apiece in collaboration with Edgar Meyer and Sam Bush, were composed and arranged by O’Connor. This is another indication that Mark is irrefutably one of the very best all-around musicians’ musician who garners the highest respect from his peers and colleagues.

The musical genius of Mark O’Connor is so ably supplemented by equally impressive playing of Thile, Sutton and House. Thile’s lyrical, fluid picking really shines on “Caprice No. 4 in D Major” and “Macedonia,” while Sutton’s most technically impressive number might well be their concert’s first half closer “Stone From Which the Arch was Made,” although it’s difficult to single out any particular piece. Tune into House’s solid foundation on the bass, and also take note of his bowing technique on the reflective “Song of the Liberty Bell.” >p> Mark O'Connor, Chris Thile, Bryan Sutton and Byron House come as close to perfection as four musicians can humanly accomplish in live performance. The acoustic all-star quartet not only celebrate Mark O’Connor’s music, but they are individually in a class of their own. Their instrumental music is simply out of this world, and it is clearly right up to the high-water mark!

Joe Ross
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Brenda Hunter "Catching the Mooncoin"
Email: sueduffy@spamcop.net OR brendaj@internet-zone.net
www.sueduffyassociates.com and brendahunter.bizland.com
Playing Time – 51:41
Songs - 1. The Mooncoin Set, 2. Maids of Mitchellstown, 3. Huntingtone Castle/King of the Fairies, 4. The Wedding Set, 5. Star of the County Down, 6. The French Cafe Set, 7. Rhythm of the Rain, 8. Her Mantle so Green, 9. Planxty Kelly, 10. Old Timey Set, 11. Ocean of Wisdom, 12. Alberta's Waltz

The full, ethereal sound of Brenda Hunter’s hammered dulcimer is always front and center on her beautiful solo debut album, “Catching the Mooncoin,” which also incorporates some new age sensibilities into the highly-arranged instrumentals. Hunter’s fiddle is a little less prominent in the mix. The full ensemble is very meticulous in their approach, and they play with exactitude and panache that fully capitalize on their individual talents. Besides Hunter, 1996 National Hammered Dulcimer Champion, the proficient musicianship of Jill Egland (flute, accordion, whistle), Mary Tulin (6 and 12-string guitars, bouzouki), Michael Mercy (percussion), and Dave Ogden (bodhran) are also showcased. Unlike a rowdy Irish pub session where everyone beats out the melody until it’s pulp, this group shares their leads, and they incorporate counter-melodies, harmonies, fills, chordal arpeggios, dynamic rhythms and syncopation.

Whether it’s a reflective air (such as O’Carolan’s “Planxty Kelly”), bouncy jig or spirited reel, Hunter plays with a poignancy that elicits much emotion. With great finesse, the project opens with a medley of the Monahan and Mooncoin Jigs. Although Hunter’s instrument is outfitted with dampers, her dulcimer resonates for extended periods with a full palate of ancient tones at the end of some musical phrases. Her Nick Blanton compact hammered dulcimer has a fully-rounded, rich tone, and she likes that instrument for its “small size and big sound for ensemble playing.” I often hear The Bothy Band’s version of “Maids of Mitchelstown” on my local public radio station, and I must say that this group’s rendition and presentation of the tune is an aural delight.

When the accordion joins the act on “The French Café Set,” one might imagine themselves at a sidewalk restaurant in Paris on a cool, brisk fall day. A favorite waltz, “Valse des Jeunes Filles” (Waltz of the Little Girls) is one that my own trio, The Celtic Tradition, also enjoys performing. The band’s “Old-Timey Set” (Durang’s Hornpipe, Round the Horn, Dancing Bear) is given a fiery, uptempo treatment with some jazz licks but illustrates that the musicians would also be crowd-pleasers at contra dances and similar events. As I sit gazing from my window at the pouring rain on this winter day in Oregon, I had to chuckle, actually grin with glee, at their offering of the pop tune, “Rhythm of the Rain.” Perfect merriment for this soggy old Oregon duck!

Brenda, Jill, and Mary play as the trio, Banshee in the Kitchen. They released their debut album (“If We Were Us”) in January 2003, toured New York, recorded and produced the current release in June, and toured the Southwest in August. Hunter also released albums in 1995 and 1997, and she will soon publish a book of Irish hammered dulcimer music for Mel Bay Publications. The Bakersfield-based musicians give us a strong, synergistic Celtic offering that follows their inner muse. I look forward to hearing more from them as they continue to build their fan base and play larger venues and festivals.
Joe Ross
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Hickory Hill "Freedom"
www.hickoryhillband.com
EMAIL: hickoryhillband@tyler.net
Don Eaves/ Hickory Hill Banjodon1@aol.com
Total Playing Time – 32:00
Songs – The Ballad of John & Maggie, The Sweetest Song I Sing, Freedom, Leaning on the Everlasting Arms, Homegrown Tomatoes, See The Light, Songs About Texas, Abby's Song, Lost & Found, Long Hard Road, Where Will You Go

Hickory Hill, from Avinger, Texas, has been around since 1979. The band’s founders, John Early and Rolan Foster, were neighbors and began playing together in junior high school. The Society for the Preservation of Bluegrass Music in America (SPBGMA) nominated them for the “Most Entertaining Band” Award in 1985 and “Contemporary Bluegrass Band of the Year” in 1986. About a decade later, Hickory Hill won “Band of the Year” from the Arts and Entertainment Council of East Texas. While Foster succumbed to cancer in 1996, the band continued on with the late Jimmy Godwin replacing Foster from 1997-2000. On previous recordings, Godwin composed many of Hickory Hill's popular songs, including “The James Boys and Me,” “Cadillac,” “Pecos Wind,” “Red Roses,” “The Rock” and “Simple Love Song.”

In 1993, Hickory Hill was named "Band of the Year" by the Arts and Entertainment Committee of East Texas, and in 1996 showcased at the International Bluegrass Music Association's annual World of Bluegrass in Owensboro, Kentucky. Hickory Hill has been the host band of the Overton Bluegrass Music Festival since the festival’s inception in 1989. After more than two decades traveling with the band, original member Ronny Singley retired in mid-2002 although he still performs occasionally with Hickory Hill in the East Texas area and supports them as their webmaster.

Today, the band features John Early (guitar), Don Eaves (banjo), Bob Stegall (bass), and Wes Perry (mandolin). On “Freedom,” Mike Tucker picks mandolin on four tracks, and special guest Milo Deering lays down some high-lonesome fiddle and dobro. Early handles all the lead vocals, except for Wes Perry’s lead singing on the gospel number.

“Freedom,” is the band’s eighth recording, and I was impressed with their ability to present a neo-traditional sound that has one foot rooted in the past while their musical branches reach to the future. Their signature sound is clearly based on many years of experience. One of the group’s strengths is their emphasis on well-written original material that has become one of the band’s trademarks. Between John Early and Jimmy Godwin, there are seven originals featured out of the eleven offered on this project. The other four include bluegrass covers of Tim O’Brien’s “The Sweetest Song I Sing,” Guy Clark’s “Homegrown Tomatoes,” Rodney Crowell’s “Long Hard Road,” and a traditional “Leaning on the Everlasting Arms.”

Of their self-penned material, I took an immediate liking to the uptempo opener “The Ballad of John & Maggie,” “Songs About Texas,” “Abby’s Song,” “Lost & Found,” and “Where Will You Go.” The title cut is a reflective patriotic statement with a hard-hitting message in troubled times. I thought the mandolin breaks were a little weak in the mix of “Leaning on the Everlasting Arms” and “See the Light.” The band offers some nicely-arranged songs that emphasize variety. There are the standard I-IV-V bluegrass progressions, but there are also songs that offer a few twists along the way. “Lost & Found” was previously released on the band’s 2000 gospel album, “Thank You Lord.”

Hickory Hill is a popular, long-standing Texas bluegrass institution that has consistently turned out highly-acclaimed recordings during their many years together. Always crowd-pleasers wherever they perform, Hickory Hill also has a reputation for its warm personality and stage presence. Like the stars that sparkle in the big skies of the Lone Star State, Hickory Hill’s bluegrass music give us points of light that should guide practitioners of the genre that are seeking direction on how to do it right.
Joe Ross
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Austin Lounge Lizards "Strange Noises in the Dark"
Blue Corn Music BCM-0303
www.austinloungelizards.com
Email: Propmail2@corridor.net OR nfly@nflyagency.com OR denby@houston.rr.com OR muzik@arkansasusa.com
Total Playing Time – 40:39
Songs – 1. Strange Noises in the Dark, 2. We Always Fight When We Drink Gin, 3. Susie Rosen's Nose, 4. You Can Eat Dog Food, 5. Jesse + Phil, 6. Merchant's Lunch, 7. Tastes Like Chicken, 8. The Lonely Yodeler, 9. Why Couldn't We Blow Up Saddam?, 10. Snope's Glory, 11. The Miracle Baby, 12. When I'm Cleanin' Windows, 13. Maverick: A Love Song, 14. Banana Slugs! Racing Down the Field (Proposed UC-Santa Cruz Fight Song)

Arf Arf! The Lizards have really outdone themselves. The fourteen tracks on their well-produced “Strange Noises in the Dark” show their influences (and ability to proficiently play) in the stylistic genres of Latin, western swing, Klezmer, bluegrass, folk, classic country, Gypsy jazz, rock, and even Bavarian yodel music. Bob Wills meet Frank Zappa! The ninth album from “the most laughable band in show business” is a guaranteed mirthquake.

For a little historical perspective, Hank Card and Conrad Deisler began writing songs together in 1976 when both were students at Princeton. The Austin Lounge Lizards originally formed in 1980 after the pair moved to Austin (to attend Univ. of Texas law school) and hooked up with banjo and dobro-player Tom Pittman. They began playing small clubs, and then won the 1983 Kerrville Bluegrass Festival band contest. They began touring nationally in 1987. Over the years of recording and touring, they’ve built a slew of fans who enjoy their wacky weirdness built largely upon satire and parody. Dr. Demento meets Bill Monroe. Appearance on NPR’s Morning Edition have launched them to even greater heights. The Lizards will also make a showing on television in “Mostly True Stories - Urban Legends Revealed” on The Learning Channel. Their segment covers the Saguaro Legend about a guy who goes to the desert to shoot saguaro cacti until one falls and kills him. Honored as “Best None of the Above Band,” on several occasions by the Austin Chronicle Reader's Poll, the Lizards have also won “Band of the Year” award at the Kerrville Music Awards three times since 1994. Where does guitarist Hank Card find the time to work as a part-time administrative law judge part-time for the State of Texas?

On “Strangers in the Night,” one can find songs about singing bedsprings, fighting, drinking gin, getting a nose job, eating dog food, blossoming love between former Senators Jesse Helms and Phil Gramm, and blowing up Saddam. The band is still in fine form, and this disc will keep you in stitches. With their off-beat humor and first-rate musicianship, the Lizards dish up the laughs. Besides their own original material, they draw repertoire from the pens of likes of Emily Kaitz, Tom Paxton, Mike Craver, Mark Graham and others. A favorite is the full band’s collaborative effort, “Tastes Like Chicken,” with its mouthful of food items. A bluegrassy instrumental, “Snopes’ Glory,” breaks up the set. The theme of “The Miracle Baby,” written by Dreisler and Card, reminded me of a favorite song of mine, “Bennie’s From Heaven.”

Tom, Hank and Conrad are joined by Boo Resnick (bass, oboe, tambourine) and Eamon McLoughlin (violin, viola, mandolin). The eight guest artists who appear on “Strange Noises in the Dark” add accordion, pedal steel, percussion, tuba, vocals, and even an “Oy Vey” chorus on “Susie Rosen’s Nose.” Vocalist Kelly Willis does a particularly fine job in the country duet, “We Always Fight When We Drink Gin.” It’s nice to hear them cover the Red Clay Ramblers’ classic “Merchant’s Lunch,” that was a hit for them about three decades ago. I also enjoyed Eamon’s British brogue on the George Formby classic, “When I’m Cleanin’ Windows.” It’s incredible that the University of California Banana Slugs had no fight song….but that’s all changed now, thanks to the Austin Lounge Lizards.

In the mood to cop a few laughs? Throw “Strange Noises” onto your disc player and crack your pan. It’s sure to tickle your crazy bone.
Joe Ross
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Caroline Herring "Wellspring"
Blue Corn Music BCM-0302
www.carolineherring.com Email: Propmail2@corridor.net OR denby@houston.rr.com OR mike@classactentertainment.com
Total Playing Time – 41:53
Songs – 1. Trace, 2. Mortified, 3. Jewels, 4. Magnolias, 5. Colorado Woman, 6. Mistress, 7. Texas Two Step, 8. MGM Grand, 9. The Way That You Are, 10. Heart and Soul, 11. Tacoma Blues

Originally from Mississippi, with a Master’s degree in Southern Studies under her belt, singer/songwriter Caroline Herring found herself in Austin, Texas in 1999 pursuing a Ph.D. in American Studies. It soon became apparent to Texans that she has a keen intellect, aptitude and talent for writing hard-hitting songs which have both a literary foundation and earthy sensibility. A paradox, perhaps? No, just soulful. With the support of the Blue Corn label, her rise in the Austin music scene has been fast. Her 2001 debut, “Twilight,” was an immediate hit, and she was named Austin’s Best New Artist in early 2002 by the local newspaper and Austin Music Awards. At that time, she worked for Texas Folklife, accompanying traditional Tejano musicians to performances and shows. Marriage took her away from Austin in 2002, following her new husband's academic pursuits to Washington D.C., and currently to Atlanta.

Caroline Herring's southern music flows with influences of country, folk, blues, gospel and bluegrass. Caroline's sophomore release, “Wellspring,” recognizes the significance of two key sources of strength in her life – Austin and her husband. Concerning the former, she says, “Texas, Austin specifically, was the source from which so much good came for me.” Like the springs of central Texas, her music bubbles clean, pure and coolly refreshing. Concerning her husband, in her self-penned “Magnolias,” she sings “we roughed through the wellsprings of our early days…”

The changes in Herring’s life may explain why there are more relationship themed songs on “Wellspring.” Being deceived and “strung along,” is the tale in “The Way That You Are.” Caroline's gift for poetic balladry is best illustrated in “Mistress,” the story of an East Texas slave and her relationship with a plantation owner. “Mortified” is about “figuring out why we fail and fall in ways we never wanted to, but knew we would have to.” Searching for the explanation may be elusive, especially as long as “the crumbs from the table kept me satisfied.”

She’s also adept at incorporating geographical and historical references and imagery to reinforce her messages. “Trace” makes reference to the Natchez Trace, a trading route in Mississippi, while “Magnolias” mentions her love of Austin and the Frio. In “Colorado Woman,” she sings of tumbling with the dustbowls across the Oklahoma plain, but “tonight I want to be a strong Colorado woman, I don't want to be your Mississippi girl. There are times I need you to hold onto, and there are times I got to hold on by myself.”

Besides Herring on vocals and acoustic guitar, “Wellspring” includes Rich Brotherton (guitars, mandola, glass harmonica, dulcimer and vocals), Bryn Bright (bass, cello, vocals), Billy Bright (mandolin, mandola), Eamon McLoughlin (fiddle, viola), and Jeff Plankenhorn (dobro). Other accompanists put percussion, accordion, pedal steel and organ into the mix.

Produced by Rich Brotherton (Robert Earl Keen), this album balances catchy arrangements with the need to keep Herring’s gutsy alto in the forefront. From the album’s first vocal strains to its last, one never loses interest in her appealing vocals. The impressionistic songs offer a fair amount of quick, memorable lines. The instrumental accompaniment is first-rate without going overboard in any attempt to steal the show. Herring has now fully developed a personalized signature sound that revolves around well-crafted original country and folk music, with stories and messages that are very compelling.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

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South Austin Jug Band "South Austin Jug Band" Email: Propmail2@corridor.net OR nfly@nflyagency.com
www.southaustinjugband.com
Total Playing Time – 46:35
Songs – Long Journey Home, Turn Around, My Baby in the Sunshine, Hill Country Nights, Little Wing, Motor City Man, Ramen Noodle Rag, Cuttin’ the Mullet, The Ballad of Eddie Mullet, Cactus and Caliche, Stealin’, Old Settler's Breakdown

Jamgrassers, take note. You’ll like this disc. While mostly original material, the South Austin Jug Band opens their debut album with a nod to tradition with “Long Journey Home.” Two guitars, fiddle, mandolin, bass. With lots of strings bursting with bright, breezy pep, the South Austin Jug Band is not a jug band, but they certainly have that ol’ jug band spirit. They’ve been called bluegrass (nope!), newgrass (I doubt it), neo-Jug (what’s that?), acoustic country-folk (too plain and simple for these guys!), Texas roots unplugged (I like it!), swinging Lone Star beatnik country (that’s better…). Especially when they sing their original of Texas, “Hill Country Nights,” with references to navy skies, trees of green, stars, and country breezes. The band very smartly incorporated a few of Lloyd Maines’ tasty dobro riffs and fills into the mix on this song, but I wish they would’ve given him a full break….or even half of one!

These guys are full of the old GO. The group initially formed as a pick-up band for a gig that singer/songwriter and guitarist James Hyland had. For some help, Hyland called on bassist Will Dupuy, mandolinist Matt Slusher, guitarist Willie Pipkin and fiddler Warren Hood. The guys clicked, the music jelled, and everybody had a good time. The band’s quintet is supplemented with two special guests -- Lloyd Maines (dobro) and Warren Hood (violin on “Motor City Man” and second violin on “Old Settler’s Breakdown”). There are a couple numbers that a guest banjo-player could have really torn up, but no matter. The band emphasizes hotly picked (or sawed) guitar, mandolin, and fiddle. I was prepared to dislike their acoustic cover of Jimmy Hendrix’s “Little Wing,” but it’s actually a nice, innovative resurrection and interpretation of the sixties’ song that showcases Ludiker’s fine bowing. Walter Hyatt’s “Motor City Man” is an equally fine rendition but would’ve been enhanced by its sequential presentation in the set after Slusher and Hood’s “Ramen Noodle Rag,” instead of before it.

The South Austin Jug Band (SAJB) has a charming appeal that will attract a younger generation to acoustic music. Besides their obvious youthful exuberance and musical talent, the professional production skills of Lloyd Maines have been employed, who has experience producing The Dixie Chicks, Robert Earl Keen and Ray Wylie Hubbard. One slight complaint is that the bold liner notes and lyrics superimposed over a dark or gray background make the disc’s jacket a little unaesthetic and difficult to read.

Seven of the twelve tracks are original offerings. Of Hyland’s compositions, I took an immediate liking to “My Baby in the Sunshine,” and his desire to “buy up all the sunshine and give it all to you.” The song has a strong bluegrassy flavor and might have been embellished with a hot guest banjo picker. His “Ballad of Eddie Mullet” is an outlaw’s tale whose robbing and murdering ways result in life without parole. Slusher’s funky “Turanaround” has few lyrics and a short message to relax and “watch your whole day turnaround.” Dupuy sings of a lost love and a lonely place between “Cactus and Caliche,” written abut 6 months after the horrific breakup of a 2-year relationship. Besides Ramen Noodle Rag, another instrumental, “Cuttin’ the Mullet,” (a duet collaboration of the band’s bass and mandolin players) is a finely-paced romp that also cuts the mandolin mustard in addition to the “mullet,” a type of haircut also known as the Mississippi mud flap.

As a unit, the SAJB shows a number of musical influences, but one primary mentor was Warren Hood’s late father, Champ Hood, an Austin music legend. His groups, The Threadgills Troubadours and Uncle Walt's Band (which also included the late Walter Hyatt and David Ball), obviously saw the South Austin Jug Band as a rejuvenation of their own approach to music. The SAJB are another generation of prolific musicians to carry on as one part Austin’s invigorated acoustic music scene. A weekly gig at Momo's, a live album recorded there, and a diverse repertoire helped them to build a legion of loyal fans. When Hood left the band to attend Berklee College of Music, they called on Washington State fiddler Dennis Ludiker. The Jug Band took the new band contest at the 2002 Telluride Bluegrass Festival, and Ludiker took first place at the prestigious Winfield, KS. fiddle competition.

Slusher calls their music “an organized campfire acoustic jam session with a few of the rough edges knocked off, but not all of them. It’s people playing good music, having a good time, and giving it 100 percent.” While the South Austin Jug Band may still have a few remnant “rough edges,” they maintain a very active and busy touring schedule. However, they need better promotion! When recently touring the Pacific Northwest in January, 2004, I just stumbled upon their schedule while writing this review. With a little luck and growth, this band could really go places.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

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Two High String Band "Insofarasmuch"
Email: two@highstring.com OR gunion@seedling.com
WEB: www.highstring.com OR www.bluecornmusic.com OR www.nflyagency.com
Playing Time – 46:01
Songs – 1. Insofarasmuch, 2. Bunkhouse Blues, 3. Sonny's Ride, 4. Alabama Blues, 5. All Day, 6. Somewhere Between, 7. Thanks Norman, 8. You Can't Run Away From Your Feet, 9. Dang, Howdy!, 10. Old Grey Mare, 11. The Old Place, 12. River's Risin'

In so far as…to the extent that….much music is being produced today, a band’s challenge is always to define their own personalized and unique sound that will cause listeners to sit up and say, “Hey, that’s cool!” Insofarasmuch, an acoustic music project from The Two High String Band, does just that with their laid-back mélange of eight originals and four other songs that illustrate their eclectic musical tastes from folk to bluegrass, and Dawg to old-time blues. Their lilting melodies easily get your toes tapping.

The Austin-based string band formed as a trio in 1995 with Billy Bright, Bryn Bright, and Brian Smith. In mid-2002, Geoff Union joined the group, and they became a full time band featuring two guitars, upright bass, and mandolin or mandola. Billy, Bryn and Brian handle the vocals. Guest artist David Grisman lays down some tasty mandolin licks on “Sonny’s Ride,” and “Dang, Howdy!” The former is a high-stepping bluegrass-flavored instrumental named for the Brights’ dog. Another highlight of the album is Vassar Clements’ guest fiddling on three tracks: Sonny’s Ride, Somewhere Between, and You Can’t Run Away From Your Feet.

The four two high guys and gal refer to their own music as “from the lonesome to the lithesome…” and “Bill Monroe in mind…no fiddle or banjo.” One definitely hears the influence of Mississippi John Hurt in Billy Bright’s self-penned “Alabama Blues,” featuring some exhilarating fingerpicked guitar. Their cover of Guy Clark and Verlon Thompson’s “Bunkhouse Blues” also has some engaging guitar played in the same style. Brian does all the fingerpicking and rhythm playing, and Geoff does the flatpicked leads.

The band pays a tribute to another fine guitarist, Norman Blake, with “Thanks Norman.” John Hartford is clearly another of the band’s influences as they cover his “You Can’t Run Away From Your Feet,” and offer their own composition,“The Old Place,” which easily could have been a Hartford hit. Billy Bright’s defining lead vocals certainly remind one of the late John Hartford. Brian sings lead on Bunkhouse Blues, Somewhere Between and Old Grey Mare. Billy sings the lead on four songs.
The closest the band comes to bluegrass is with their duet harmonies on a Merle Haggard cover, “Somewhere Between.” The album’s five instrumentals display some bluegrass sensibilities, but they also demonstrate the characteristic fluidity and dynamism that jamgrassers possess.

The band is currently playing a number of restaurants in Austin, Dallas, Houston, and perhaps their enchanting acoustic repertoire could be best called or categorized as “cafegrass,” an eclectic musical blend that’s perfect for a java-sipping bunch of people who listen. However, more than just a regional act, the band has also toured the northwest, colorado, southeast, and northeast. In their short time together, The Two High String Band is building a fanbase, and they have already shared the stage with the Tony Rice Unit, Slaid Cleaves and Yonder Mountain String Band, among others. In 2004, we’ll also be able to see them at Merlefest. While their musical approach is rather unconventional, they don’t seem so far removed from or unaware of their traditional roots. There’s plenty here to enthuse a traditional music fan, and Two High’s music should only serve to redirect many younger fans back to those roots.

Billy, Bryn and Brian met while attending the Berkelee School of Music in Boston, and The Two High String Band actually formed as a result of the “party release” jams that happened every night in the apartment that Billy and Brian shared. Bryn, a jazz major living downstairs at the time, wasn’t very pleased with all the stomping around and racket…until they invited her up to join them on bass. The Brights have backed folk musician Caroline Herring, toured as part of Peter Rowan’s Texas Trio, and Bryn has recorded and toured with Old & in the Grey, featuring Peter Rowan and David Grisman. Billy and Bryn also have a 2002 album of original instrumentals that included guests Peter Rowan, Vassar Clements, Tony Rice, Danny Barnes and Eamon McLoughlin.

“Insofarasmuch” was recorded almost entirely live in their home studio indicating that the band has gotten their arrangements very tight. The party release jam has now graduated to full-fledged band. The album isn’t a glossy and over-produced Nashville production. Instead, it’s very quaint and unpretentious, packed with music that is a good-time listen full of fun, folksy and fanciful groove.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

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Team Flathead "The Huber Banjo Sessions" john@huberbanjos.com
www.huberbanjos.com

Playing Time – 37:25
Songs - 1. Cherokee Shuffle 2.Sourwood Mountain 3.Over in the Gloryland 4.Seeing Nellie Home 5.Reuben 6.Cluck Old Hen 7.Mississipi Sawyer 8.Cotton Eyed Joe 9.Bugle Call Rag 10.Evening Prayer Blues 11.Red Rooster 12.Red River Valley 13.Careless Love

What a great idea! You could call it the “6-4-8-13” recipe. Assemble six amazing banjo-players, line up four fantastic bluegrass accompanists, choose eight of Steve Huber’s finely-crafted banjos, then proceed to record 13 instrumentals around the same mic (a 1966 Neumann U-67) without using any equalization or compression. Team Flathead includes some high-stepping banjomen: Sammy Shelor, Jim Mills, Ron Stewart, Steve Huber and John Lawless. Each picker gets to strut their stuff as the showcased artist on 2-3 songs apiece, while “Bugle Call Rag” features Steve, Sammy and Ron sharing the breaks. Backing the guys are Kenny Smith (guitar), Alan Bibey (mandolin), Andy Todd (bass) and Ron Stewart (fiddle). This resulting CD, produced by Ron Stewart, is a right pert little album that not only has some charged-up playing but is also a great demonstration of Steve Huber’s line of banjos.

For years, Huber’s replica vintage flathead banjo tone rings, built to exacting pre-war specifications, have been highly regarded in the banjo world. Then, in October, 2001, Huber announced an entire line of banjos at the IBMA World of Bluegrass trade show. This CD’s 12-page jacket, as well as info on the CD itself, explain the differences between his Lancaster, Kalamazoo, Roanoke, and Lexington models. All recreate the look, feel and sound of the classic flathead banjos which were manufactured in the 1930s and early 1940s. In contrast to an archtop banjo, the head on a flathead banjo is flat across the entire rim. An archtop has a secondary, higher ridge inset about 3/4" from the outer edge, which effectively reduces the vibrating diameter of the head (from the front an archtop looks like two concentric rings). Bluegrassers generally favor the tone from pre-war flathead banjos (with the Gibson flathead tone ring), and many of Gibson’s 1925-64 resonator banjos (which were archtops) have since been converted to flatheads.

Huber, in his quest to recreate this vintage sound, has constructed some intriguing instruments played by such experts as Sammy Shelor of the Lonesome River Band. What better way to describe and introduce them than to have some experts take them out for a spin! The only minor drawback is that utilizing six different players on this project may have led to some differences in tone and sound for instrument comparison purposes. Therefore, the best comparisons are done when you examine tracks which use the same banjo being played by different pickers (e.g. the Lexington #102-4 played by Stewart and Huber on “Sourwood Mountain” and “Careless Love,” respectively). Another good comparison is tracks 3-5 which alternate Shelor, Lawless and Mills each using the same custom Lexington #402-15 (with radiused fingerboard) on “Over in the Gloryland,” “Seeing Nelly Home,” and “Reuben,” respectively. Another way to analyze and distinguish between the banjos is to listen to tracks by the same picker using different banjos (e.g. Shelor using 3 different banjos on “Over in the Gloryland,” “Mississippi Sawyer,” and “Red Rooster”).

The Roanoke is only test-driven (by Jim Mills) on only one tune (“Cotton Eyed Joe”), while, at the other end of the spectrum, Lexington models appear on six tracks. I can hear a few subtle differences in tone, warmth, and brightness between the various instruments. The Lexington # 402-15 appeared a littler “ringier” than the others. The notes on all came through with clean definition, and the intonation on all Huber’s instruments appears excellent. Again, I wonder if some of the more delicate differences are due to individual players’ styles and right-hand technique and, of course, an instrument’s set-up will have a significant bearing on its tone. I tried to compare the various instruments’ balance between higher frequencies (treble brilliance) and lower (bass) response. The Lancaster #302-19 and Kalamazoo #602-27 seemed to have more lower- and mid-range response than the others. An astute person with keen and discriminating ears may be able to hear more variation and contrast than me. I concluded that all of Huber’s instruments appear to be fine banjos of distinction.

Preferring to deal directly with consumers and keep his prices competitive, Huber doesn’t plan to offer the banjos through traditional dealer networks. AcuTab will serve as the sole outlet where orders can be taken for his banjos that range from $3,100-3,900. If you’re in the market for a banjo, be sure to listen to this album first. I think it’ll convince you that Huber banjos sound like top-of-the-line instruments. I also recommend this CD to folks who simply like red-hot and lively five-string picking that really hustles.
Joe Ross
http://www.talentondisplay.com/joerosshome.html

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VALERIE SMITH & LIBERTY PIKE – Wash Away Your Troubles
www.valeriesmithonline.com
EMAIL urban-smith@charter.net OR bellbuckle@cafes.net
SONGS - The Rain, Music To My Ears, Blossoms On The Almond Tree, Wings To Fly, Soul Phone, Getting Ready For Sunday, Seeds, My Jesus, God's Refrigerator, Make Him A Soldier, Raise The River
Playing time - 32:20

Missouri-based Valerie Smith's fourth album, “Wash Away Your Troubles” is a set of electrifying highly original gospel-infused acoustic music. Smith sings with distinctive panache, and she goes with material from respected songcrafters who have given her winning compositions in the past -- Becky Buller, Lisa Aschmann and Mark Simos. They also cover a Louvin Brothers favorite, “Make Him A Soldier,” Claire Lynch and Cindy Greene’s “Wings To Fly”, and Sarah Majors’ “Soul Phone.” Impressed by Valerie’s work ethic and determination, this album was produced by Alan O’Bryant.

Valerie Smith and Liberty Pike were nominated for IBMA's Emerging Artist Awards of 1999 and 2000. She’s also been recognized by midwest bluegrass fans when nominated as SPBGMA's "Traditional Bluegrass Female Vocalist of the Year" award in 1998, 1999, 2001 and 2002. “Wash Away Your Troubles” features Liberty Pike's current lineup -- Becky Buller (fiddle, viola, clawhammer banjo, vocals), Casey Grimes (bass, vocals), and Jonathan Maness (guitar, mandolin, vocals). On 2-3 tracks apiece, guests include Mike Compton (mandolin), Aaron Jackson (guitar), Matt Leadbetter (resophonic guitar, vocals), and Alan O'Bryant (banjo).

The group elegantly assumes a devout tone on songs where the messages are paramount. Although not uploaded yet, lyrics will soon be online at ValerieSmithOnline.com. “Wash away your troubles, wash away your pain” is the opening salvo in “The Rain.” The set then progresses through some first pew music before elegantly closing with the refrain, “Lead us to your ocean, make us into water” to epitomize the band’s love and praise of God.

Songwriting is both art and craft. Becky Buller had a hand in composing four songs on this CD, and she knows how to cultivate her creative ideas into blossoming works. With her lively old-time banjo, “Getting Ready for Sunday,” for example, is a call for each and every heart to prepare and make time for church. Only about six years ago (2001), Becky won the bluegrass category of the prestigious Chris Austin Songwriting Contest at MerleFest in Wilksboro, N.C. She’s starting to see more and more bluegrass groups covering her expressive material.

Five songs on this project exhibit the stylistic writing of Nashville-based Lisa Aschmann who has written thousands of songs in many genres, with more than 300 covered by country, bluegrass and acoustic artists. Lisa’s perspectives, often in collaboration with co-writer Mark Simos or others, show innovation (“God’s Refrigerator”), spirituality (“Music To My Ears”), and revelation (“Blossoms on the Almond Tree”). Much in the same manner that her songs take root and flourish, a song like “Seeds” asks a simple folksy question to guide one’s journey in life that will hopefully result in an individual finding meaning, purpose and salvation. Claire Lynch’s alluring song also offers an encouraging message to persevere “I will walk ‘til I have wings to fly.”

There is excellent talent on this album, and the band presents some wonderful new material in spare settings that encourage intimacy with the lyrics. Valerie’s direct messages reflect the eclectic sounds, influences, and textures of her Midwest home. With country, folk and bluegrass components, one primary goal of her music is to connect us all as human beings and relate evocative and inspirational messages from the depths of her heart and soul.
Joe Ross

Valerie Smith and Liberty Pike "No Summer Storm"
Bell Buckle/Rebel - 0603 www.valeriesmithonline.com
EMAIL urban-smith@charter.net
Total playing time - 32:35

Valerie Smith’s third album, “No Summer Storm” is an exhilarating romp through a field of new traditional bluegrass. With a distinctive excitement and flair in her voice, Smith is part storyteller as she belts out songs about old Bill the sawmill man, young Sarah who is being counseled to wait awhile before marrying, or the loner Jacob Spence who murdered a man and did time. The title cut, “No Summer Storm” (written by Lisa Aschmann and Mark Simos) compares love to an ocean to be conquered. The same songwriters penned “I’m Lookin’ for a Man”...who can stand his ground.
Nominated for IBMA’s "Emerging Artist of 1999 and 2000," Valerie Smith and Liberty Pike are a band to watch and, of course, listen to. Smith has also been recognized by midwest bluegrass fans when she was nominated as SPBGMA’s “Traditional Bluegrass Female Vocalist of the Year” award in 1998, 1999, 2001 and 2002.
The year 2001 was also a tough and tragic one for the group when they lost mandolinist Eddie Miller to an automobile accident. Miller and his brother John, former guitarist for Liberty Pike, can be heard on four of this album's 11 tracks. The album features a core group consisting of Liberty Pike's current lineup: Becky Buller, fiddle and vocals; Daniel Hardin, bass; John Wesley Lee, mandolin; Randall Conn, banjo and resonator guitar; and Stephen Mougin, guitar and vocals. Tom T. Hall guests on “Sit Down and Cry,” playing guitar on a song he co-wrote with wife Dixie.
The album closes with Valerie and Kraig Smith’s “Where the Bluebells Grow,” a nostalgic tribute to their home in west Missouri. There is some excellent talent on this album, and the band presents some wonderful new material that will make you sit up and take notice of some of bluegrass music’s rising stars, Valerie Smith and Liberty Pike.

Joe Ross
http://www.talentondisplay.com/joerosshome.html

The Sea Monkeys - "Waiting for the Flood"

Its always refreshing to be reminded of the wealth and variety of unacknowledged acoustic/folky singers and songwriters that exist up and down the country. Nottingham based The Sea Monkeys are one very firm example of that mileu, often underappreciated and very talented.. The Sea Monkeys have just released their debut album "Waiting for the Flood" consisting of 14 tracks of a mixture of self composed material and traditional material

Andy Victor and Nigel Bull together make the acoustic duo that are The SeaMonkeys. The partnership which has existed for around five years, being occassionally supplemented, incorporates Victors songwriting abilities alongside Bulls strengths in putting Victors words to tunes. The duo also supplement their songwriting and arranging skills with a variety of skills in bringing various instruments into play to the mixture which include Guitar, Bouzouki, Bass, Mandolin, whistle, Harmonica, percussion and keyboards, which makes them sound more like an orchestra in the making than a duo. Often it can be the case that duos can over compensate and the end result can be a clustered sound of instruments that may not always gel as well as they could. That definately isnt the case here, each track on the CD brings the particular tale to life, some reflecting real events some based on fictional tales. Victors singing is sharp yet flexible and lends the subject at hand the right tone, sometimes haunting and atmospheric.

Easily one of the highlights on the album is the title track "waiting for the floods", which employs some of the atmosphere referred too, not only as a result of Victors singing but pretty impressive instrumental background. As mentioned above Victor and Bull have an impressive range of abilities and instruments to draw on, and that is very much reflected in the music on this cd, one thing that is worth also pointing out is the music is exactly that - no sign of cheap atmospherics, sounds effects or the like which even some "acoustic" bands who should know better, the music is clear crisp and all the better for it as well as the benefit of well sung lyrics that are clear. Althought its a shame that the usual lyrics booklet isnt included - Im one of those people who actually read them, and these lyrics are worth reading.

As mentioned above the Cd contains a mixture of self composed and traditional material, as an indication of the skill and flexibility of the duo Track seven of the Cd is another highlight which consists of a medley of the traditional Whitehaven Volunteers alongside the self penned "Stephen Jones" - a haunting tale of one mans experience of war, court martialls, firing squads and the pointless horrors of battle, a lesson that humanity seems utterly incapable of learning, but I digress.

These songs definately deserve a far larger audience than they have received so far - and this CD deserves a larger circulation - check the band out via their website - listen to the clips and order it, then suggest to your local Acoustic Venue that they might like to book them.

At the moment the duo sadly dont appear to be gigging too much having had more than their fair share of pub gigs which would never be the most inspiring of events, however they are open to suggestions.

For further information check out their website members.lycos.co.uk/seamonkeymusic, order a copy of the Cd and book them at your local venue.

Jeannie Kendall "Jeannie Kendall"
Rounder 11661-0401-2
www.rounder.com Email: info@rounder.com
Playing Time - 45:55

Many remember The Kendalls. In this duo with her father (the late Royce Kendall), Jeannie Kendall had a strings of hits (like “Leavin’ on a Jet Plane,” “Pittsburgh Stealers,” “You’d Make an Angel Wanna Cheat,” “I’m Already Blue,” “Teach Me To Cheat,” “Sweet Desire,” “Thank God for Radio”). Their “Heaven’s Just a Sin Away” was a number one country hit, crossed over to the pop chart in 1977, won a Grammy and took home the CMA Record of the Year award. The Kendalls’ unique harmony gave them a contemporary sound with enough traditional flavor to win them many fans. Jeannie now steps into the spotlight with her first solo album, an all acoustic country and bluegrass project. Although her father passed away at age 64 in 1998, he is included on two cuts (“I Wonder Where You Are Tonight” and “Train of Thought”). The former is a straight-ahead presentation, but not hard-driving, high and lonesome. Besides Dan Tyminski, Adam Steffey, Barry Bales and Rob Ickes, other sterling guests include Ricky Skaggs, Stuart Duncan, Alan Jackson, Carl Jackson, Rhonda and Darrin Vincent, Pat Flynn, Bryan Sutton, Allison Moorer, and Ron Stewart. Percussion is offered by Kenny Malone or Milton Sledge on all but one cut, “Jack and Lucy,” a duet that Jeannie sings with Steve Gulley. Another special duet on the project is a remake of the 1988 McCarter's hit, "Timeless and True Love," sung by Jeannie with Alan Jackson. Laurie Lewis’ hit, “Love Chooses You,” is arranged with angelic vocals of Jeannie singing with Rhonda and Darrin Vincent. The same trio harmonize on "The Color of Her Eyes," a beautiful song written by Mike Stults. Jeannie sings with Alison Krauss on another Laurie Lewis song, "Old Friends."
This project began back in 1998 when Jeannie and Royce Kendall started recording an acoustic project with Alison Krauss’ band, Union Station. It has taken four years and various recording sessions to bring the album to completion, but that is to our advantage because there is a lot of variety on this album. I wouldn’t have minded hearing banjo on at least one or two cuts. Even if soft-driving banjo-less bluegrass with a country twist, light percussion and piano, may not be your main cup of bluegrassy tea, you’ll find songs to peak your interest and grab your attention on this project. The choice of acoustic country material is excellent, with a nice mix of covers and new material. Every song is given a unique Jeannie Kendall treatment and arrangement, but they all have certain elements in common: stellar musicianship and beautiful vocals with Jeannie’s divine voice always out front. I am very pleased to see such professional productions of this quality in the acoustic music market. This album deserves a place in your collection, and I hope to hear its tracks frequently on the country, bluegrass and Americana radio airwaves.

Joe Ross
home.switchboard.com/joeross

Mouse - Live at the Borderline - 17 August 2001

Surrey/London based acoustic duo had been billing this gig as their "big one" it being the first time they had played The Borderline or a similar sized venue. They got that right and I suspect the duo were pleasantly surprised by the crowd who turned out to see the duo launch their second album. It being one of those occassions in the Borderline when it was a struggle to reach the bar (never mind the toilet) and perish any thought of getting back to whence you started. Martha Tilston and Nick Marshall have been regulars on the acoustic scene in London (12 Bar Club, Easy Come, Big note Club etc) since their formation in January 2000 as well as folk clubs in Surrey (Ram Club etc). They released their first (live) CD a few months later as well as fairly hectic gigging over the last 18 months, if the gig on the 17th is anything to go by the journey hence far has been a fruitful one and long may it continue.

Tilston sings a mixture of the occasional traditional number (HE moved through the fair) and their own material, the duo have a confident and comfortable presence including Tilston gently sssshing the crowd before the quieter song, such as the "tiniest kiss", a song about moving on. On this occasion the duo were joined by cello, backing vocals, fiddle, and tablas (percussion just in case I spelt that wrong) and the result was an impressive one, right down to the closing jig which was introduced by Marshall cheerfully informing the crowd that they had no idea what they were doing, if that was the case they do it well (and the reaction of the crowd was testament to that). As well as the more upbeat material Tilston sang a moving song dedicated to Child Soldiers, one in which she portrayed the horrors involved in the subject and the wasted lives.

Their second album "Mouse Tales" sets out a definate marker for the band, containing 13 (one of them is "hidden") of their own songs including one or two "old" ones, for example the brilliant "helicopter trees" should be one the duo are proud of. Along with the final (official) track on the album "bring him home", which brings Tilstons vocals to the fore, when she sings of love, and forces of nature. That said Im not sure how well the album captures their abilities as live performers and it may be a tad overproduced, but perhaps I'm comparing it to their debut album which was recorded live.

Sadly Mouse have currently gone into hibernation, details of Martha Tilston's solo activities can be found at her website at www.marthatilston.co.uk

Donna Dean - 12 Bar Club, London 14/8/01

The 12 Bar Club is often a place for discovering remarkable, roots, blues and folk artists that you might not otherwise come across. New Zealand born Donna Dean was definately a discovery worth making. An evening of self penned "folk" songs with definitive hints of country and blues and Nashville in her writing and singing style. Despite the mildly annoying drone from the Bar (hopefully one day the 12 Bar will insert a quiet door between the Music room and the Bar) accompanied by fellow acoustic guitarist - Dean played a mixture of existing material from her previous three albums alongside her forthcoming album (to be released early 2002). One thing that runs through all her material is its honesty and Deans insights into relationships and the Human experience. For example the radio man brings the empty existance that life can sometimes be to the fore and in a very concrete way. Alongside this Dean sings and performs (wonderful guitar playing) in a way that connects with the audience as well as bringing the subject at hand to life and giving it real meaning.

Dean (all being well) is hoping to return to the UK early next year - I for one will be looking for to that along with the new album.

In the meantime information can be found at her website here

Siân Phillips and Danny KilBride "Jac to Bach" CD

These two artists have been on the scene for quite a few years each before coming together to record this joint CD, and to tour together. Both have a firm (and family) grounding in folk music whilst having played a wide variety of other genres, from blues via folk to rock and firmly back to folk again. Phillips has played with a number of other artists, including with the Wild Welsh Women, and has a wide experience of touring as a solo artist, the duo have spent a considerable time in the states recently touring and are doing so again, performing with various artists next year. Personally one of the things that I enjoy most is the sound of a good fiddle player, and that certainly describes Phillips, She has been described as "one of Wales' best fiddlers, if not the best", well Ive heard quite a few from a variety of places and Id certainly say Phillips is one of the best Ive heard, if this CD is anything to judge by.

Danny Kilbride also has experience of various genres but again has a firm grounding in the folk tradition and again has played with various artists, not least the Kilbride Brothers (who seem to be taking a rest), Ceilidh Bands and the Root Doctors as well as taking a detour through rock, punk and blues etc.

The album itself lasts for a good 46 minutes and consists of 12 tracks, a mixture of self composed material and traditional Welsh tunes. For me possibly the highlight of the album was the track Calch Tanfedd, a mixture of two traditional tunes which combines sensitive guitar playing, and expressive fiddling which so clearly complement each other, on this track particularly the guitar and fiddle weave in and out of each other both standing out yet fusing together to create something beautiful - speaking personally I had to press the repeat track button a number of times to relisten to this track, absolutely wonderful.

The album itself is varied not only in the mixture of the traditional material and their self composed tracks but in tempo, varying from the more upbeat and foot tappy set of traditional tunes in track 7, whereas track 10, again a combination of two tunes, is perhaps more reflective in sound.

The CD itself is testament to the varied skills of both artists and whilst it is firmly located within the folk genre, some of the other influences perhaps emerge at times, certainly the varied skills of both musicians are very much in evidence. According to the inlay card "most of the tunes are the product of our imagination, history and our sense of humour. What more could we need...?"
In this case absolutely nothing!

Whilst the CD may not be music to leap up in the air and dance too its certainly music that will make you smile, close your eyes at times and dream too, in other parts your feet may start tapping and I suspect you will play it again and again, its certainly worthy of several listens, this is one of those albums where something new jumps out at you everytime you listen.

A taster for the music on the CD is embedded in Siân Phillips website here, (give it a moment to download) listen to it and then order the CD, phone your friends and get them to order it and if you live in the States check out the website the duo may well be playing near you in the not too distant future.

On the strength of this album I'll certainly be ordering works that the duo have been involved with (sigh there goes the overdraft again), and I hope a follow up is sooner rather than later (for that matter I hope the duo play in London at some point in the not too distant future).

Yonder Mountain String Band "Town By Town" Frog Pad Records
www.yondermountain.com
Casey@Partnersinmusic.com

The Yonder Mountain String Band has a large legion of young, exuberant fans, and this album demonstrates why. Their sound is distinctive. The lyrical messages of their original material are interesting. Their material is well-rehearsed and arranged. Their songs convey spirit, energy and enthusiasm. Unfortunately, they sometimes push their musical capabilities and challenge their own skills on their up-tempo pieces. “Rambler’s Anthem” and “Easy as Pie” open the album and are examples of this. The album then settles into a groove with songs like Idaho, Loved You Enough, Sorrow is a Highway, and Must’ve Had Your Reasons. They succeed with the up-tempo showcase newgrass number, New Horizons, written by mandolinist Jeff Austin. The other band members include Dave Johnston (banjo), Adam Aijala (guitar), and Ben Kaufmann (bass), and they all contribute original material to this album. Tim O’Brien also appears on fiddle and bouzouki. The Yonder Mountain String Band doesn’t stick to those straight three-chord traditional progressions. They punctuate and accentuate their music with a lot of excitement, and these guys clearly have a lot of fun which, in turn, energizes their audiences. Bluegrass is in good hands with bands like the Yonder Mountain String Band that are drawing a large following of young fans to the music.

Joe Ross
home.switchboard.com/joeross

Jeff and Vida at the 12barclub - Monday 25th June 2001

One of the most wonderful things about the 12barclub conveniently hidden down a seedy (and to be blunt sometimes smelly) alleyway in Soho is that from time to time (quite a common experience at the 12bar which easily has to be the best Music Venue right in the centre of London) you'll come across an act that just ooze talent - Jeff and Vida are one such act , a Husband and Wife act based in New Orleans but obviously feeling the need to be different they produce a sound that is a mixture of Oldtime Country and Bluegrass, along with their self penned songs. Over in the UK for a short tour Jeff and Vida did a couple of shows at the 12barclub opening their show with "Take these Memories", a slow ballad of a love song which soon speeds up with Jeffs Mandolin going into overdrive along with Vida's vocals which she seems able to adapt to what is needed of them. The said songs range from their "divorce" song (not their divorce song Vida helpfully pointed out) "You said we'd grow old together" to the ghost (and tale of lost love) story, Jack and Lily, and of course the evening would not be complete with Jeffs yodelling as an accompaniment to "In My Minds Eye". Jeff and Vida fill the gaps with their own humour and bits of useful humour, the audience was told there was no need to applause but could just sit and stare as they have much experience of staring at each other home and always refrain from clapping. Their songs talk of loves lost, inferences of America's history and just darned good well written tales and songs. Clearly a bit more of a diversity since their last visit with the addition of a solitary Rock and Roll song, letting Jeff loose and a single Blues song, but then as Vida pointed out they couldnt live in New Orleans without being influenced could they. One thing that shined through very clearly through their set was that Jeff and Vida are doing exactly what they want to do, judging by the constant smile and enthusiasm which more than rubbed off on those listening. If you like honest, well written and well performed folk/bluegrass and old country songs you'll like Jeff and Vida, and if you don't well you should.

Vida whilst pointing out that she is no political animal did promise to bring some George Bush jokes on their next visit, another reason to look forward to their return. Another reason to look forward to their return is that they are currently working on their second album which all being well should be released in the autumn. Their debut CD "One Horse Town" which helpfully has a picture of a solitary Horse (just to make the point) on its front cover. Details on how to order the CD and further information is available from their website at Jeff and Vida

Terra Folk live at the Sutton Acoustic Music Club, Merton South London - Sunday 24th February 2002

I first came across this (then trio) last August (2001) during their first mini tour of the UK, when I heard (accidentally) about an unknown Slovenian band playing the late slot on a Sunday evening at the 12 Bar Club in Soho. It would be no exaggeration to say that the atmosphere in the 12 Bar that night was one of the best the venue has seen and once the trio were well into their sit there was barely a face in the room that wasnt smiling. But to give more of a context Terra Folk play a wide range of folk music including Celtic, Italian, Gypsy, Slovenian, German Chamber Music(!!) and their own compositions, on, a full range of acoustic instruments including Bohran, Fiddle, Bass and acoustic guitar alongside lessons in clapping equitate.

Certainly when I heard the (now) Quartet were returning to London for a short tour in late February (2002) I was pretty determined to make the effort to catch them again. The band have only been together (firstly as a trio now with the addition of Cello player Žiga Golob) for a few short years and during that time have made an impression on audiences across Europe, and now in the UK as a result of their first couple of short visits. On their last visit they, achieved a decent support slot at the well respected Borderline in the centre of Charing Cross on the Saturday (no mean achievement given the contrast with the band they were supporting) night the band also put on a number of their own shows on across the South London/Surrey/Sussex area including a packed out Sunday evening at the Sutton Acoustic Music Club, and a last minute booking at Dartford Folk Club, a booking the club must certainly have appreciated.

As mentioned above the quartet play a wide variety of material from across Europe, all of which is given their own special treatment, and quite often unexpected audience participation, Terra Folk are the only band i can ever remember seeing when the fiddle player handed his instrument to a member of the audience whilst he carried on playing it (remarkably well, despite the look of nervous bemusement from the audience member). Whilst there is a significant amount of humour the band are outstanding musicians who clearly get enjoy what they are doing and this mood quickly encompasses the audience. Its no exaggeration to say Terra Folk are one of the best live bands on the circuit at the moment, certainly on the few occassions ive had the good luck to see them the audience would concur with that I suspect.

On the basis of the first couple of trips the band have built a respected reputation which has lead to a booking at Glastonbury, along with a waiting list of venues waiting for their next visit, essentially watch this space because you'll be hearing a lot more about these fellas over the next few years and should they be appearing in your locality go see them you wont regret it. The band are due to return to the UK for yet another tour this coming November (2002) and hopefully they will play further afield than the London area.

For further information on the band check out their website at http://www.terra-folk.org/.

Eric Westbury - "Walking Tracks"
This is the first solo album by Eric Westbury formerly leadman of Canadian based "The Hooligan Preachers" who enjoyed local success, since their demise Westbury has been concentrating on his solo career, releasing a cassette on an independant label. This first follow up (and Westburys first CD offering) "Walking Tracks" other 5/6 years and its certainly been worth the wait. Westbury has a marked talent for singing down to earth songs about life giving his own interpretations, of his own observations. Westbury avoids traditional type folk songs concerned about love or former relationships but concentrates on self-penned stories telling weaving a number of styles and genres with his moderately gravelly voice, in the space of this album traits of folk, alternative country and blue-grass can be detected with a small peppering of rockabilly all of which creates a palatable menu. Jumping from the second track on the album, "Churchill's Black Dog" a slow ballad, about a less than sociable dog Westbury continues his observations on the patterns of life with the more country based "Turbine" to the excellant bluegrass "Five Strings" which brings out (again) Westburys more than capable guitar playing as well. Yet regardless of the different influences I imagine that in his native Canada Westbury is the ideal performer for the medium sized and intimate acoustic venue, hopefully he might venture to this side of the Atlantic one day. Thus far Westbury has been compared to Steve Earle, Tom Waits but more importantly every reviewer has justifiably indicated Westburys strong story telling ability and that is something a lot of "folk" artists lack these days.

This (not before time) debut album definately grows on the listener and and as it seems the 12 tracks on this cd were selected from a collection of around 80 perhaps its followup might not be so long in the making.

For further information take a look at Westbury's website and email him Eric Westbury

Emily Druce - Live - Borderline Singer- Songwriter Festival - May 28th 2001

By no means my usual kettle of fish, and its rare that I venture out these days for anything other than a folk band, but as I've read quite a bit about her in the press over the last year or so and her reputation has been growing I thought id make the effort to check her out, and well worth the effort. Druce was playing at the the latest "Singer-Songwriter festival" at the Borderline which are usually reasonable affairs although I cant help feeling they stretch the defination of singer-songwriter a little bit at times. Druce has accomplished her position as the great white hope of British Blues and justifiably so, performing a mixture of her own compositions and covers she did so with her own interpretation and feeling of each song. Druce performing solo and acoustically accompanied by her two guitars including one purchased in the hope that she wouldnt have too spend time fiddling about tuning up in the middle of a set, no such luck, but then would a guitar be a guitar if it didnt go out of tune half way into a set?

Hopefully the Borderline will see sense and get her back as the headlining act next time around in the meantime if shes in your area check her out, for an evening of well crafted acoustic blues songs. Otherwise order a copy of her debut cd from the address below, Druce has been described as "an outstanding young blues singer" - just about right.

For more information about Emily Druce write to: Emily Druce,PO Box 131, Holmfirth, Huddersfield, HD9 6YR or check her out at Emily Druce

CD REVIEW

Recently formed Canadian Band Shenanigan here present their debut recording (they came together around a year ago). A lengthy contribution (77 Minutes and 17 tracks of both original and traditional tunes material). The band have a variety (and varied) of musical backgrounds including jazz, cajun, hard rock and country and the different influences come to bear on their music. One benefit of the CD being a decent length is the full range of the bands style are given a decent airing, here are included a reasonable scattering of Polkas, Airs, Reels, Tango's, Songs and Jigs. All performed well and with energy. There was however no gentle introduction to this album, no sooner have you pressed the start button than you are joined by the sounds of a merry set of reels (Jackie Coleman's/Farewell to Milltown Malbay/Fred Finns), which is followed by a self penned tale (The Dragon and the Phoenix) of stone dragons and dark eyed ladies, descriptions of flaming winds, accompanied by atmospheric and gentle strings and flutes to transport you to the place of the tale (within us rather than without I suspect). For me the vocals of lead vocalist Claire Betts come to full fruition on their self penned songs, and she is well placed to sing slow melodic tunes with feeling and deepness giving her own interpretation (I cant help feeling that hers is the jazz influence although I maybe wrong on that), , although that said she tackles the traditional "Carrickfergus" with feeling and skill, there is definately a touch of the classical in Betts singing. The album comes to close with another self penned song "The Wild One", a slight hint of the new age here (but dont let that put you off), elements of nature interwoven with emotions, dreams and fury. Again Betts vocals definately come to fruition here althought im not sure about the harmony vocals here. Generally speaking its hard to find fault with this album, and plenty to find right with it, what it does (at least in Canda) is lay down a fine basis for their future and a niche for Shenanigan, one I suspect they will fill well. An album well worth investing in, for further information about Shenanigan write to them at: Graham Johnson, 2406-1150 Jervis Street, Vancouver, BC, Canada V6E 2C8 or check out Shenanigan for more details and sound clips.