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Folk and Roots Reviews | Back to the main Reviews page |
Feel free to send in a review of a cd, gig, band, festival etc, if you want to submit details of your event/band for inclusion then feel free to email us.
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.comPete Fyfe
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CHRIS WHITLEY & JEFF LANG - Dislocation Blues
www.chriswhitley.com OR www.jefflang.com.au
www.rounder.com
Playing Time - 62:52Chris 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 RossReturn to the Reviews Contents Page
MIRANDA LAMBERT - Kerosene
Sonynashville.com OR mirandalambert.com
Playing Time - 46:17Chad 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 RossReturn to the Reviews Contents Page
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 QuakerTo 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 RossReturn to the Reviews Contents Page
CHERISH THE LADIES - Woman of the House
www.rounder.com OR www.cherishtheladies.com
Playing Time - 52:13New 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 RossReturn to the Reviews Contents Page
CEILIDH MINOGUE - self-titled www.ceilidhminogue.co.uk OR www.gregorlowrey.co.uk OR www.greentrax.com
Playing Time - 54:18Ceilidh 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 RossReturn to the Reviews Contents Page
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 - 54:41Eight 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 RossReturn to the Reviews Contents Page
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 PondIt 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 GoingWith 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.comPete 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.comPete 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.comPete 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.comPete Fyfe
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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.ukPete 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.comPete 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.ukPete 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.ukPete 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.ukPete 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 HomeTen 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.comPete Fyfe
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ANDY RAU BAND – Higher Ground
Andy@andyrauband.com
www.andyrauband.com
Playing Time – 54:34The 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 RossReturn to the Reviews Contents Page
BOB WILLS and his TEXAS PLAYBOYS (4-CD set in the Legends of Country Music series)
www.legacyrecordings.com
legacymediarelations@sonybmg.comBorn 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 RossReturn to the Reviews Contents Page
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 PianoWhile 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 RossReturn to the Reviews Contents Page
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 – 38:19As 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 RossReturn to the Reviews Contents Page
DAUGHTERS OF BLUEGRASS – Back to the Well
www.daughtersofbluegrass.com OR http://www.musicshed.com
Playing Time – 42:12In 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 RossReturn to the Reviews Contents Page
MARK SCHATZ and FRIENDS – Steppin’ in the Boiler House www.rounder.com
Playing Time – 50:37With 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 – 44:52Fiddler 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 RossReturn to the Reviews Contents Page
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 JordonBecky 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 RossReturn to the Reviews Contents Page
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 MountainsBluegrass 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 RossReturn to the Reviews Contents Page
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 HolyPinecastle 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 RossReturn to the Reviews Contents Page
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 RossReturn to the Reviews Contents Page
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 – 52:53Laurie 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 HouseThe 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.htmlReturn to the Reviews Contents Page
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 RossReturn to the Reviews Contents Page
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 RossReturn to the Reviews Contents Page
Jay Armsworthy and Eastern Tradition – Making Memories http://www.geocities.com/easterntradition
Playing Time – 43:18Down 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 RossReturn to the Reviews Contents Page
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 BreedenI 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 RossReturn to the Reviews Contents Page
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 RainOne 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.htmlReturn to the Reviews Contents Page
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 GiveWhen 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 – 68:20The 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 – 32:00The only restraint needed when listening to Temperance Road is that to resist the urge to jump to one’s feet and start