Three new reviews at the Lonesome Road Review

I’ve fallen way behind in my writing, and have only just got around to submiting three reviews to http://lonesomeroadreview.wordpress.com/- A Tribute to Fiddlin’ Paul Warren, Lost & Found’s latest, and the fourth installment in the North to Ontario series. Please check them out as they are three very strong albums, well worth your listening. Thanks for dropping by Fervor Coulee. Donald

Roots music column, November 6 2009

Sorry for the silence of late- work has kept me too busy- I owe all sorts of folks reviews and notices, and just can’t seem to find the time or energy to concentrate on the writing. Hopefully, I’ll be able to devote more time to the site this month. Today in the Red Deer Advocate I advance several Red Deer concerts including this coming Sunday’s Dale Ann Bradley concert presented by the Waskasoo Bluegrass Music Society. I’ll be hosting the show, but don’t let that stop you from attending. Also, in recognition of the concert I review Dale Ann’s latest album, Don’t Turn Your Back. The disc has been out for months but I held off on reviewing it in anticipation of her area appearance. The following link will get you to the paper’s site: http://tinyurl.com/ylpj882

Thanks again for dropping by Fervor Coulee. Donald

Hardly Strictly Bluegrass Festival Oct 3-4, 2009

After years of searching, I’ve found my people. And they were all with me at the Star Stage at the 9th annual Hardly Strictly Bluegrass Festival in San Francisco’s Golden Gate Park on Saturday afternoon.

I’m still not sure exactly how it happened, but my wife agreed a weekend getaway to San Francisco, a couple hours by plane, was a good idea. I had an earned day off, she took a holiday day, and within a few hours of making the decision we had booked the rooms and flight.

What a treat! We decided to spend the Friday afternoon of our arrival seeing as much of the city as we could, foregoing John Prine and Lyle Lovett. Our hotel was in the heart of the Haight area- Stanyan Park- and was quite nice, although we were shortly to discover it was a bit like sleeping in a tent. The hotel was right across from the park, but deceptively far from the festival site- it ended up being about a brisk, 30 minute walk to the festival.

None the less, we jumped on the Hop On, Hop Off bus tour that stopped across from the hotel, and within 90 minutes of arriving in the city, were streaming across the Golden Gate Bridge on top of an open-air double-decker bus. I was giddy like a kid! Deana claimed I wasn’t as excited when we were in Greece, which was only partly true- when in Greece, I was constantly exhausted, so it was difficult to show excitement.

Truly a beautiful city, the Hop On tour was a nice way to get a quick overview of the city. An extended stop at Macy’s downtown demonstrated that Starbucks coffee truly tastes the same no matter where you are and that some folks will pay way too much for a sweater. We concluded our city tour unsure of how to spend our evening, and found a nice place for supper around the corner from the hotel- Siam Lotus, I believe.

But before we got there, I saw- in the distance- the glory land that is Amoeba Records! O, gosh. What a place. We don’t have stores like this in Alberta anymore, and likely never did. An unreal selection, and because I was pressed for time, I never made it past the first five aisles. The CD clearance section was bigger than most retail stores in my area! 14 discs and $30 later and we were ready to eat.

We turned in pretty early after the flight and stress of a new city, and made plans for a long day at the festival site. One of us had a long day, anyway.

My wife repeatedly challenges me on why I go to festivals. She points out that I hate crowds, which is generally true. I hold noisy chatterers in disdain. In general, I find port-o-potties psychologically scarring. Now, while I feel she is projecting her feelings a little bit here, in general she has a point. I shouldn’t like festivals for a whole lot of reasons, including the ones mentioned as well as less than ideal sound, excessively priced food, and set changeover times that are usually painfully long. And yet I continue to go. I am pleased to say that on the whole Hardly Strictly exceeded all expectations, and only the port-o-potties cast a pall over my two days on the grounds.

My wife and I decided we didn’t want to run around the grounds capturing every act of appeal. So we had made our selections based on a mutual common ground, and we had most of our day slated for the Rooster Stage. She thought Jorma Kaukonen would be to her taste, and I thought she would enjoy the Boz Scaggs revue as well.

The decision made, we set out for our walk through the park to the festival site. And we walked. And walked. With only a general idea of where we were going- even following a map- we likely added a couple kilometres to our journey, but for the most part it was a very nice walk through a lovely green space. (For the record, if you’re going- walk straight west up JFK Drive…if only we knew!)

We set up our mats at the Rooster Stage, and got ready for a day. Walking across the site of the Banjo Stage, I started to really get a sense of the size of this event- it makes the Edmonton Folk Festival seem quaint, and gives Calgary’s Prince’s Island Park a run as a primo festival site as far as trees, shade, and atmosphere go.

Marshall Crenshaw was up first, and did a fine little set. Not terribly engaging, but that had more to do with how far from the stage we were, not to mention the jerk who set up a normal-sized chair four feet in front of our ground level mats- wearing a freakin’ straw hat to boot. That he and his colleagues seldom paused in their chats did little to temper the holes my eyes were drilling into his mealy wee brain…but I had promised myself not to care about such things, and therefore eased back to listen to the power pop sounds of Crenshaw.

While a fan- I have several of his albums and believe his version of “I’m Sorry (But So Is Brenda Lee)” is a top 100 all-time rock song- I was surprised at how many songs I could mouth-a-long to.

My wife started the Guy Clark jokes before he even hit the stage, and she soon went for a walk rather than listen to his ‘old man’ music. I thought his set was pretty good- he was in strong voice, Verlon Thompson complemented with nice lead work, and Bryn Davies was a nice, unexpected touch on bass and vocals.

Clark did the expected numbers- “L. A. Freeway,” “Home Grown Tomatoes,” and “Let It Roll”- but no “Desperadoes Waiting For a Train” (fine by me, to be honest) or “Texas, 1947” or “Randall Knife” which would have been nice. A few new songs- “Some Days the Song Writes You,” “The Guitar”, and “Hemingway’s Whiskey”- held their own. By the time “Dublin Blues” and “Stuff That Works” were done, I was very pleased that I had forgone some of my other choices for a set from the master.

Mid-set, my plans for the day changed when Deana decided she had already had enough of the people and didn’t want to put up with a day in the wind and dirt; she happily went off to continue her city tour (“You’ll probably enjoy yourself more without me,” she claimed; I denied such, but after almost thirty years, I could tell she wasn’t buying it) and I hastily re-planned my day. O, the bounty of choices I faced!

After a few minutes at a way too crowded Banjo Stage trying to listen to the Tim O’Brien Band, I made the last minute decision to head toward the Star Stage for Dave Alvin & The Guilty Women. The reasons were numerous- I always enjoy Dave Alvin, Laurie Lewis had just appeared in Red Deer so the chance to have her in my city one week and then see her in her’s eight days later was too obviously serendipitous to pass up, and the fact I probably wouldn’t have another chance to see them as a combo also played a part. But mostly, it was sentimental curiosity- with the recent death of Amy Farris, I really wanted to see and hear what the band would do.

Since I arrived a full-set early for the show, I found an almost too good to be real space down front, and even met some folks from Utah and Wisconsin to chat with. All the signs were present that the show may be a bit rough- Dave and Laurie working up a tune with fill-in fiddler Suzy Thompson, a lot of uncomfortable milling about on stage from various musicians. But the smiles were obvious, and soon it was apparent that we were about to witness something quite spectacular.

I’ve seen Dave Alvin several times at various festivals, but never to such an attentive and involved audience. We knew all the words, we were familiar with most of the moves and riffs. After years of searching, I had found my people. And they were all with me at the Star Stage on a glorious and sunny Saturday. Without much formality, the band launched into the Cajun arrangement of “Marie, Marie” that kicks off the recent album. We were on our feet right away, and you could light a small town with the energy the audience and band generated. Powerful doesn’t start to describe it.

Appropriately, Alvin brought things down for moments of somber reflection to acknowledge the absence and passing of Farris. I’ll admit, I blubbered for just a few seconds- it was worse than a Hallmark commercial. Pushing me over the edge were the few bars of “California Bloodlines” Dave sang in honour of Amy as an introduction to “California’s Burning”, bringing to mind not only Farris’s death, but that of the songwriter John Stewart. To be in California, and to be reminded of a true son of that state was just too much for me, and I sat down and teared up. Weird.

But the only burning to be smelled on this day was of the medicinal variety, and sadness was short-lived in this environment. Anyway, the rest of the set was steaming. “Abilene” featured an extended jam and “Boss of the Blues” drew me in to vicariously cruise the bluesy streets of southern California with Dave and Phil. “Potter’s Field” was especially poignant on this day, and the band found a new way to play the blues on “Dry River.” Laurie Lewis really cut loose on the set closer “Que Sera Sera”, tearing up a bit of a hoedown with Alvin on that one.

The surprise of the set? Lisa Pankratz! Wow, she can pound. Really nice. Without doubt, the set of the weekend for me. Everyone sounded at their finest, the band’s energy was very positive, and Christy McWilson only threatened to strangle Dave once.

I stayed at the same stage- listening to the Old 97’s play on the adjoining stage- for the Nick Lowe set to follow. A fine decision, and one that was on my original list of ‘must-sees’. Again, talked to folks about common music interests- including Steve Forbert- and had a fine cookie and coffee to pass the time. Lowe was appearing solo, a bit of a disappointment as I had seen the same in Calgary a few years ago and would have enjoyed a band show. But the calm sophistication of Lowe was a nice palate cleanser after the full-bodied brew that was the Guilty Women.

 By starting the show with “Ragin’ Eyes”, Nick gave me hope that we would hear a few unexpected numbers- perhaps “Time Wounds All Heels” or “Breaking Glass.” Alas, such was not to be as he delivered a solid, well-performed but not especially inspired list of his most familiar numbers. Mood was lighter than last time out, definitely less restrained, and he cracked more than a couple smiles. But the songs were of the expected sort- “What’s Shaking on the Hill,” “Long Limbed Girl”, “Does She Have A Friend”, et al. “Heart” was a nice surprise, but he really needs to retire “All Men Are Liars.” “Cruel to Be Kind” got the sing-a-long treatment, and “The Beast in Me” silenced everyone, as it should.

It was nice to hear “Without Love,” the other song of Nick’s J.R. Cash recorded and one of my personal favourites before he launched into the expected and populist climax of “I Knew the Bride” Staring into the sun, the silhouette that was Nick Lowe concluded with his eternal song- the one that’ll last long after the bride has divorced and she discovers that being cruel is seldom kind; hearing “(What’s So Funny About)” Peace, Love and Understanding” in San Francisco was pretty darn neat for this old man.

Things were starting to cool off a bit, especially in the shade and I wasn’t exactly positive where to go next. I decided to forego the crowd of the Banjo stage- again- and skip Gillian Welch in favour of Marty Stuart & His Fabulous Superlatives. With the best corn dog I’ve ever eaten quickly devoured, and in fine company with Al and his gal Susan, I sat back to enjoy classic country music without worrying about analyzing every nuance.

Some old (“Tempted”), some borrowed (a Buck Owens- Bakersfield instrumental that some may have recognized as “Buckaroo” but that I’m just guessing at, “Long Black Veil”), something blue (“California Blues”), and very little new, Marty and his boys did themselves proud. A strong, unpretentious set highlighted by acoustic gospel vocal tunes such as “Working on a Building” and “A Little Talk with Jesus”, the Osborne Brothers’ “Bluegrass Express”, and a Carteresque guitar instrumental.

By this time, even a Canadian was getting cold, and I needed to move on, and finally gave in to the calling of the Banjo Stage for Steve Earle & the Bluegrass Dukes. That this festival’s biggest and most crowded stage hosts the most traditional bluegrass acts lends this fest a giant heap of credibility. The festival features the gamut of roots and Americana sounds (well, almost- more on that in a moment), and I’m sure would draw even more people if the bluegrass aspect was played down a bit. But, true to their roots, mainstream, progressive, traditional, and contemporary bluegrass acts play to an audience that possibly surpasses 20 000 at this one stage alone. I missed Steve Martin & the Steep Canyon Rangers, Skaggs, Dry Branch, and others who played the stage earlier in the day, but managed to catch much of the Earle set. I’m glad I did.

I had a decent sightline from the side of the stage, away from the hordes, and the sound was still decent. The blowing wind was numbing fingers on stage (and off, for that matter), leading Earle to quip, “I can’t feel them, but it sounds good.” The set wasn’t particularly tight, hardly surprising given the conditions, but I’m glad I can check off the Bluegrass Dukes on my list of Bands to See. This was a particularly charged set of Dukes- O’Brien on mando, Darrell Scott on banjo and such, with Dennis Crouch (bass) and Casey Driessen (fiddle). “Sin City” sounded especially nice, as did “The Hometown Blues”, complete with familiar story about square-headed cowboys named Otto.

They did “White Frieghtliner Blues” and a few songs from the bluegrass album like “Texas Eagle” and “Yours Forever Blue.” Darkness was moving in, and I still had to walk back to the hotel, so I started off on perhaps the second longest walk of my life. Well worth it, though. A terrific day.

A couple random thoughts. Everyone has a dog, and they all come to the festival. Where I come from, dogs don’t go to festivals. It was a nice touch to see all the pets, and several were absolutely gorgeous animals. All appeared to be well-behaved, save the one who bit me! Seriously, all these well behaved, mannerly and docile dogs, and one little yapper jumps out at me and grabs my leg! Fortunately, he/she caught mostly jeans, but I felt its teeth on my leg. Gave my old heart a jump, for sure. The owners were blissfully inattentive and quite taken back that their little Foo-Foo would do such a thing.

For a cosmopolitan city, the festival is very white- both in audience and music. Race doesn’t really enter my thoughts too often, but it was pretty apparent that the weekend lacked colour. True, I didn’t exactly go out on a limb, listening to more than a few aging white guys, but I know my wife would have appreciated more world and blues music; heck, she may have even stayed around for a little while. And yes, Mavis, Allen Toussaint, and others were on the bill- but it still seemed fairly pale.

The festival merch was a bit sparse, with only t-shirts, posters, and blankets on offer. I was hoping to buy a button-down denim or black shirt, but such was not to be found. Both of the major Alberta festivals have extensive merchandise for sale, and I’m surprised HSB doesn’t take advantage of this revenue stream, while fully aware cash flow isn’t a factor here.

The port-o-potties were gross. I’m so glad I’m a man and don’t need to sit to urinate. Come on, with a 1.5 million (or whatever) budget, get the toilets pumped out over night.

Finally, I was shocked at how laid back everything was, for the most part. Little jostling for position, very few folks apparently losing their bearings- the whole festival had a real positive vibe. Even with so many people and being in a foreign land, I felt comfortable leaving my backpack unattended while moving about the stage areas. The whole festival had a very calm mood associated with it. I wonder why?

We needed to catch a late afternoon flight back home, so I knew I would only be able to take in three acts of the Sunday, but I knew which they would be- Darrell Scott, Hazel Dickens, and Doc Watson, all at the Banjo Stage.

Under a warming Northern California sky, the final day of HSB9 opened with the Darrell Scott Band. Having arrived well early, I was able to find a small spot amongst the mammoth and largely abandoned tarps covering the front of the stage area. With Casey, Tim, Bryn and Matt Flinner, Scott delivered a scorching 6-song, 40-minute set.

“Family Tree” was dusted off for a fine performance. On Paul Simon’s “American Tune” Scott again demonstrated his prowess, alternating powerful and rhythmic strumming with carefully chosen, flat-picked notes. A song I don’t remember having previously heard, maybe called “Long Wide Open Road,” featured a great, star-crossed line- “While I was looking for forever, she was looking for the door.”

Flinner did some nice work low on the fret board during “A Memory Like Mine;” the song had a real jam feel with everyone taking the opportunity for extended breaks, Driessen most impressively working the low register. The too-short set concluded with “Long Time Gone.” Time well spent.

Hazel Dickens, truly supported by a cast of trusted sidemen, was who I really wanted to see on this day, and that is no knock against Doc. But Hazel Dickens just makes my bluegrass engine purr. I love her voice, and even knowing the voice isn’t what it once was, it doesn’t hardly matter. She can flat out sing.

Called the Heart and Soul of the festival by its benefactor Warren Hellman, Hazel struggled a bit to find her voice on “Things in Life”, but rounded into form by the time she concluded “Aragon Mill.” “Mannington Mine” was performed, as was the similarly themed “America’s Poor.” (And I tripped over a wee bit on the ‘net that mentions these songs and puts Hellman’s contributions to the festival in a less positive context: http://www.beyondchron.org/news/index.php?itemid=2528)

To ‘appease’ Dudley Connell, Hazel allowed him to sing the Stanley Brothers song “Lonesome Without You.” “Jack and May” had Dudley singing with Hazel, and Marshall Wilborn adding additional harmony. “Mama’s Hand,” “Love Me or Leave Me Alone,” and “Here Today, Gone Tomorrow” were also performed.

Hazel also delivered the line of the weekend when she deadpanned- “I smell pot- someone’s smoking. Shame on you.” A few beats later adding, “You got to pass that around!”

When one considers the esteem in which Hazel Dickens is most obviously held at HSB, and judging from the size of her attentive audience it is considerable, it is hard to fathom why she has yet been made a member of the IBMA Hall of Fame. (Yes, I’ve flogged this old horse before, but I will continue to do so until there is some evidence of someone listening.) Could it be that this collection of liberal, wheat-germ eating, pot smokin’ hippy wannabes and their brethren of the Bay Area are more attuned to the musical contributions made by Hazel Dickens than are those who make such decisions on behalf of the bluegrass industry? I exaggerate, of course, but Hazel remains on the outside looking in at her industry’s highest honour while year after year the male (and largely dead) are recognized. All deserving, I’m sure- but really, there is no rush to get some of these names on the wall as their time has (literally) passed.

She has been a groundbreaking bluegrass performer for nigh on fifty years, and with each year that passes we (the bluegrass community) miss an opportunity to bestow upon her the honour she deserves. Her performance at HSB9 gave ample evidence that she remains a vital component of today’s bluegrass scene. Hazel didn’t perform a dozen or more songs I would have loved to have heard, but what she did perform was stellar, even when it wasn’t.

Also appearing with Hazel was Barry Mittenhoff (mandolin), a fiddler I could not recognize, and a banjo player who may have been Jason Burleson, but more likely was someone else.

Finally, my last act at HSB9 was to be Doc Watson, appearing with David Holt. Their three-disc set of interviews and performances is an absolute favourite; while I would have preferred to hear Doc with Jack Lawrence, I wasn’t about to pass up to here Doc and Holt’s homespun music.

The chosen set wasn’t nearly adventurous- “Way Downtown,” “Shady Grove,” “Whiskey Before Breakfast,” and “Stagger Lee” being the first four tunes played. But Doc gave a finger-pickin’ clinic, and Holt’s clawhammer-style of playing does complement Doc well. I was glad to hear Doc perform “Deep River Blues” before I had to leave the park to catch the plane. As I turned away from the stage area, Richard Watson was joining the duo in “Roll On Buddy.”

If considering a weekend away for roots music, one could do worse than giving Hardly Strictly Bluegrass 10 a spin next autumn. I was only able to catch a fraction of the acts I would have loved to hear- heck, I had to pass up The Knitters, Billy Bragg, Rosie Flores, Todd Snider, Del McCoury, and Emmylou Harris, not to mention Booker T and the DBTs, Richie Havens, Billy Joe Shaver, Elizabeth Cook, Robert Earl Keen…

The hard part will be to not allow this festival to overshadow all which follow.

Thanks for spending some time at Fervor Coulee. Donald

International Bluegrass Music Awards, 2009- How I Did…

>>>Updated Oct. 1 as the awards were posted on the IBMA site.<<<In less than 24 hours, they’ll start handing out the hardware in Nashville. I gave up my IBMA membership a couple years back for a variety of reasons- some logical and a few completely indefensible to anyone but me- and therefore am no longer a voting member of the organization. But, I do enjoy playing along at home. I realize the IBMA and bluegrass in general is of little interest to most- but feel free to make your picks as I list mine in the major categories. As for the IBMA Hall of Fame, I’m sure the Dillards and the Lonesome Pine Fiddlers are worthy…but not at the expense of Hazel Dickens and Ola Belle Reed. Come on, already- get the ladies in! The full list of nominees is posted at the IBMA site: http://www.ibma.org/ibma.awards/currentpress/nomineeslist.asp

Last year’s winners, when mentioned, are in italics. I have placed the recipients in bold.

Entertainer of the Year:

Who I Would Have Voted For: Doyle Lawson & Quicksilver

Who I Think Will Win: Dailey & Vincent

Vocal Group:

Who I Would Have Voted For: Blue Highway

Who I Think Will Win: Dailey & Vincent

Instumental Group:

Who I Would Have Voted For: Michael Cleveland & Flamekeeper

Who I Think Will Win: Michael Cleveland & Flamekeeper

Male Vocalist:

Who I Would Have Voted For: Junior Sisk

Who I Think Will Win: Jamie Dailey Dan Tyminski

Female Vocalist:

Who I Would Have Voted For: Dale Ann Bradley

Who I Think Will Win: Dale Ann Bradley

Album of the Year:

Who I Would Have Voted For: Blue Side of the Blue Ridge- Junior Sisk & Rambler’s Choice

Who I Think Will Win: Dailey & Vincent- Brothers from Different Brothers Wheels- Dan Tyminski Band

Song of the Year: and, if I might say, a bit of a weak crop of nominees

Who I Would Have Voted For: “Don’t Throw Mama’s Flowers Away- Danny Paisley & the Southern Grass (songwriters- Chris Stuart & Ivan Rosenberg)

Who I Think Will Win: “Wheels” Dan Tyminski Band

Instumental Performers-

Banjo- Sammy Shelor- Steve Martin Kristin Scott Benson

Bass- Marshall Wilborn- Mike Bub

Fiddle- Michael Cleveland- Hunter Berry

Dobro- Andy Hall- Andy Hall Rob Ickes

Guitar- I can’t be bothered.- Bryan Sutton Josh Williams

Mandolin- Jesse Brock- Adam Steffey

What do you think?

Thanks for visiting Fervor Coulee! Hopefully, I’ll update things tomorrow evening. >>>I didn’t do too badly in my predictions and was especially pleased to see so many of my choices actually get awards; quite unusual that. For Marshall and Jesse, this is a long time coming. Congratulations! I had hoped- and nothing against Rob Ickes- that Andy Hall would break through this year, but maybe I’m a bit early on that. I’m pleased to see that no fewer than 7 of the recipients have performed for the Waskasoo Bluegrass Music Society, the club I do the bookings for in Red Deer, AB- Jesse Brock (three times), Marshall Wilborn (twice), Chris Stuart and Ivan Rosenberg, Michael Cleveland (twice), Josh Williams, and Dale Ann Bradley (soon to be twice as she returns Nov. 8) Not a lot to argue with, and it’s nice to see the latest Daughters of Bluegrass project recognized, albeit for but one song. Donald<<<

CD Reviews- Ricky Skaggs & St. James’ Gate

Ricky Skaggs Songs My Dad Loved Skaggs Family Records

Without being able to pin down a defensible rationale, I’ve reacted coolly to Ricky Skaggs’s most recent bluegrass albums.

Listening to this solo album, on which the undeniably talented Skaggs plays and sings all the parts, I realized that I most appreciate the Kentucky native when he is singing unadulterated country music.

Skaggs’ solid vision for acoustic sounds is apparent. These are simple songs from long ago-  Green Pastures in the Sky, This World is Not My Home, City That Lies Foursquare, and of course Little Maggie. Despite the necessary multi-tracking of vocals and instruments, each performance sounds heartfelt and spontaneous.

Nothing fancy is added. Skaggs plays the fiddle, banjos, acoustic and resonator guitars, mandolins and mandocello, and bass, weaving an unadorned elegance throughout each number.

With 14 Grammy awards and a dozen country #1 songs behind him, with Songs My Dad Loved Ricky Skaggs has made what may prove to be his most completely satisfying recording.

St. James’ Gate License to Kilt Self-released

Red Deer’s favourite Celtic band of brothers returns with their fourth long player, the anticipated License to Kilt.

The sextet is fully realized on this recording, capturing the enthusiasm and power of live performance on a professionally recorded album.

Significantly, bassist and bouzouki player Dave Best’s production ear is most highly tuned layering as he does the many stringed, percussive, and wind sounds into a cohesive and balanced Celtic-rock bond.

The lead voices are mixed well above the stellar instrumental rumpus, with the rollicking Raise Your Glass and Whiskey Women standing out. St. James’ Gate’s harmonies are largely of the ‘shouting in unison’ variety, entirely appropriate for spirited material.

The group is anything but timid, as even the most heartfelt tune Good Good Man – a tribute to the departed Jimmy McMullen- rocks along. Balancing the endearing frivolity of Pub Brawl and A Man’s a Man are keenly constructed story songs including Too Late, Johnny Ro, and The Ghosts of Rogers Pass. Johnny Jump Up could have been prized from an obscure volume of Thin Lizzy out-takes while a cracking live version of The Waterboys’ classic Fisherman’s Blues and Peter’s Street bring the proceedings to a more traditional conclusion.

Of note is the impressive manner Billy O’Neil’s pipes and whistles are entwined within the St. James’ Gate sound. Fine local players, this is a most charming recording. Indeed, with License to Kilt, St. James’ demonstrates that the boys are back better than ever!

As always, thanks for dropping by Fervor Coulee. Donald

25 Albums I’m Really Glad I Listened To This Summer- Part 2

Continuing the journey…

Pale Imperfect Diamond Cedar Hill Refugees (Effigy Records, 2009) I can’t say John Carter Cash’s production decisions do a lot for me, but on this disc- which brings the musical influences of Uzbekistan to Nashville- he and Jack Clift get it pretty much right. Jadoo is the name of the Uzbek band featured throughout, and I’m not really sure where they stop and the array of the usual guests, including Marty Stuart, Ralph Stanley, John Cowan, Randy Scruggs, Ronnie McCoury, Harry Stinson, Dennis Crouch, start.

But the music works on a number of levels. First, the music of the Uzbeks does remind one of southern mountain music, at least as it is presented here. Second, the exotic and mysterious rhythms and unusual instrumentation which includes horns, percussion, and stringed instruments galore works as an alternative to the increasingly glossy bluegrass sounds one ever more associates with ‘mountain music.’ Not that this music isn’t highly produced, but if I’m going to listen to studio polish I’d rather find it here than in my bluegrass.

Finally, the vocals are full of treats that even the most casual of listeners will appreciate. Dr. Ralph’s contributions to “Keys to the Kingdom” are worth the purchase alone, but John Cowan shines on “Oh, Bury Me Not”. The downside is the lack of liner notes beyond general musician credits; a project such as this cries out for explanation and reflection on the song choices, the instruments featured, and the interplay of the participants.

The Record Bar Shows Bob Walkenhorst with Jeff Porter and Norm Dahlor (Internet Archive, 2009) Not an album or even a series of albums, but an ongoing archive of weekly shows performed by the Rainmakers front man at a Kansas City pub. Amongst the wealth of original material are choice country, folk and rock (“Dirty Water”) covers, many with timely significance (“Woodstock” in early-August, Ellie Greenwich’s “Hanky Panky” and “Chimes of Freedom” dedicated to Ted Kennedy as the month drew to a close.)

Walkenhorst and his compatriots are obviously comfortable performing within this largely acoustic setting. While over 300 Walkenhorst recordings are available on the Archive, this summer’s slate of shows were particularly strong, with focus and looseness apparent in equal measure. http://www.archive.org/details/BobWalkenhorst

South Mouth Robbie Fulks (Bloodshot, 1997) An unfortunately long-neglected favourite, I rediscovered South Mouth when I ran across a deeply discounted copy and picked it up for a gift. Of course, I had to listen to it in the car on the way home…and then the next day and a week later. I still haven’t passed it onto Cheryl and Ross, but I trust they’ll like it as much as I do if they ever get a chance to listen to it. Every song, except “F%&k this Town” would sound terrific within a bluegrass arrangement with “Cold Statesboro Ground” already having been given such by James Reams & the Barnstormers. When I hear songs like “I Told Her Lies”, “What the Lord Hath Wrought (Any Fool Can Knock Down)”, and “Busy Not Crying”, I remember why I love country music so much, and how rare such performances seem.

Black & Blue The Rolling Stones (Universal 1976/2009) I’ve wanted to pick up this album ever since reading Ian Rankin’s excellent novel of the same name a few years ago. I was curious not only because of the way Rankin referenced the album throughout, but because I’d heard such mixed messages about the disc. I finally purchased it when it was rereleased this year and I found it cheap enough. The album didn’t blow me away, but I certainly appreciated the mood the grooves inspired in me- good for highway driving, no doubt. Listening to the album, I couldn’t help be surprised that folks claimed the Stones went disco with Emotional Rescue just a few years later; the two albums certainly share the same DNA. I’m glad I listened to it, if only to satisfy my curiousity. Not essential, but few Stones albums are.

Songs My Father Loved Ricky Skaggs (Skaggs Family, 2009) A beautiful album, artfully rendered. And that isn’t something I say very often about a Ricky Skaggs album. Likely the last time I had overwhelmingly pleasant thoughts about a Skaggs disc was somewhere prior to the turn of the century with Bluegrass Rules and Life is A Journey. On the cover, Skaggs looks terrific- and the photo reminds me of both Guy Clark and Marty Stuart- and he appears to be accepting the passages of time. Despite all the necessary multi-tracking, the music is fresh and homely (as in simple and unpretentious) presented. When Skaggs sings country, as he does here- not commercial country, mind, but mountain inspired country- he is in his wheelhouse. Wonderful stuff!

Sylvain Sylvain/Syl Sylvain & the Teardrops Sylvain Sylvain (1980/1981/2007 Acadia) I first heard “I’m So Sorry” on a Rachel Sweet bootleg where she is playing tunes on the Kid Leo show. I picked up both of these albums over the years in delete bins (remember them?) and had been keeping my eyes open for them on disc. I was completely surprised when I (again) tripped over this 2fer in an Athens Metropolis store. I’ve written about the store elsewhere, but what a wonderboon it was- four or five stories of music, neatly if confusingly (to me, a non-Greek) arranged in a roomy and clean environment. Anyway, the second album doesn’t hold up to the first, but the first three tracks (“Teenage News”, “What’s That Got To Do With Rock n Roll”, and the perfect “I’m So Sorry) are as wonderful a ten minutes as I’ve heard in all my years. Maybe the best seven Euro I spent on the trip, although all those Orange Fantas were mighty tasty.

Different Views David Gogo (Cordova Bay, 2009) I’ll be honest. The only reason I even gave this album a fair listen was because I noticed the cover of John Stewart’s “Gold”. I’ve got a stack of CDs that I haven’t had time or inclination to listen to, and this one likely would have found a place in that pile. Do I really need to listen to another self-indulgent blues guitar album?

Good thing I noticed “Gold” because the album is very strong, not the least bit wankerish. It holds up and draws in even the most reluctant listener. The originals are power blues-rockers of the finest sort, with changes of tempo that encourage air-guitar miming from listeners and vocal arrangements that recall Tom Wilson and Carlos Santana. Different Views is soaring voices, power chords and waves of organ, tightly arranged for maximum impact.

I’ve searched for covers of John Stewart’s most famous song this side of “Daydream Believer” and they are rare; Gogo’s version, featuring Carolyn Mark in Stevie’s place is remarkable; Jim Bass may now be making $8.50 for an hour, but the rhythm in his hands is as steady as ever in Gogo’s treatment.

A reminder never to judge without listening.

Two Dimes & a Nickel David Davis & the Warrior River Boys (Rebel, 2009) Along with Dale Ann Bradley’s latest, maybe the finest bluegrass album I’ve heard this year. Beautiful, cinematic songs. Davis picks songs with more care that it appears do his higher-profile bluegrass contemporaries. Yes, they include clichés but the familiar phrases and expected treatments work for the song, not against it. See my full review at http://lonesomeroadreview.wordpress.com/

 Motorway Tom Robinson (Music de Luxe, 1994) I’m not sure when or where this collection was recorded. I found it for cheap in a bin of leftovers several years ago and promptly forgot about it. Last winter, ”2-4-6-8 Motorway” worked its way back into my brain when it was featured in an episode of Ashes to Ashes. So I dug out my vinyl of Power in the Darkness and had some fun for a few nights, and actually was listening to PITD in the car this morning before writing this piece. Re-found this disc on the shelf when I was doing some reorganizing of the CDs. A fine little set that captures the freewheeling attitude that was so obvious when these songs were first heard during university days- we can do anything and will accomplish everything. Well, we didn’t- or at least I haven’t. ”2-4-6-8 Motorway” is still one of the best driving songs of any genre of the past forty years, and while the version here is a bit restrained, it still feels right. This album encouraged me to further explore the Tom Robinson and TRB discographies, and it has been great fun.

A few more to come…. Cheers, Donald

25 Albums I’m Really Glad I Listened To This Summer

I know I’m luckier than many. Even as a writer of marginal talent, I’ve been able to find forums for my writing, and as a result of this am exposed to more fresh music than other folks. Since I also spend too much time in both used and new CD stores, I uncover CDs of interest- including many I didn’t even know I need.

For example, last weekend I stopped into one of the local stores and found a reissue of Mark Lindsay’s Arizona and Silverbird albums on one disc. I barely know Mark Lindsay from Lindsay Buckingham, and haven’t listened to Paul Revere & the Raiders except on oldies radio…although “Indian Reservation” has long been a favourite. I bought the album without even thinking about it, and it was only when Track 1 started once I got home that I realized “Arizona” was that Arizona song. I’ve listened to the disc twice through, and while it isn’t essential I’ve enjoyed discovering something I hadn’t before listened to.

If I work hard enough, I’ll usually find something of interest.

Like many, I spend too much of my free (and other) time listening to music. Here is the first installment of a piece I am assembling where I reflect upon some of the music I’ve either taken off the shelf, purchased, or have been sent since June. While not necessary stunning in all cases, all of these albums are ones I’m really glad I listened to this summer.

Presented in no particular order-

Cry Cry Cry Dar Williams, Lucy Kaplansky, and Richard Shindell (Razor & Tie, 1998) We probably all have albums that we love but seldom- if ever- pull off the shelf. This trio project isn’t one of those as I didn’t know I loved it, and in fact can’t remember listening to it prior to this summer although I must have. I rediscovered Cry Cry Cry while on Santorini and for some reason it really resonated with me as I walked the streets of Fira. The blending and interplay of the three voices is quite special as songs from some of the finest contemporary writers are interpreted. Highlights include “Cold Missouri Waters” by James Keelaghan, Buddy Mondlock’s “The Kid,” and “Down By the Water” written by Jim Armenti, whose version can be seen/heard here, live in a grocery store. Weird. http://www.youtube.com/watch?v=iqSzNKPoRqo

Potato Hole Booker T (Anti- 2009) I wasn’t sure what to except from this one. I’ve always enjoyed the Booker T sound, but am by no means a learned listener. I’ve been hit and miss with the Drive-By Truckers- who serve as the band for this ten-track album- and Neil Young- who plays guitar. It is a rock album with lots of guitar, and I find it really groovy. Of course, the Hammond B3 comes through loud and clear. I’m glad I took a chance on it. There is also a nice set recorded July 4 posted at the Live Music Archive, if you can get past the annoying talking head.

Armageddon Prism (Capital, 1979) A western-Canadian FM-staple, every song on this disc is recognizable to guys of a certain age. Some of the effects sound dated, but dang- the songs have hooks. As a Trooper fan, I couldn’t publicly admit to liking these guys during grade 9 and 10; at least, that was the rule in my head. I’m glad I stopped over-thinking things.

UN, The Boy Bands Have Won, and English Rebel Songs 1381-1984 Chumbawamba (1998, 2004, 2008) Over the past two years, and really for no tangible reason, I’ve been collecting Chumbawamba discs whenever I run across them. Even though almost every album takes a different approach to pop and folk music, I’ve yet to be disappointed. I downloaded these ones from eMusic and iTunes after catching the Chumbawamba Acoustic quintet at the Edmonton Folk Music Festival in early August. I love the blending of voices, the way the female vocals soar above the instruments. The songs are clever and, and times, insightful and thought-provoking.

Nothing Gold Can Stay The Duke & The King (Ramseur, 2009) I can’t write about this album yet because it makes me ache. I can’t stop listening to it. The most beautiful sounding album I listened to all summer. Sparse, mellow, dreamy. Love The Outsiders reference, which I noticed as soon as I saw the album…realizing it comes from a poem. Frost? Buy this one.

As Time Goes By The Bluegrass Brothers (Self-released, 2009) As time goes by, the Bluegrass Brothers just get better. Since I first heard the Virginia band five or so years ago, they have made huge strides- from an enthusiastic if non-descript area family band, to a crew of pros that can hold their own with the finest of the professional bands. They are not fancy but they are lively, pouring out straight-ahead hardcore bluegrass without a hint of progressive intent. I don’t want all my bluegrass to sound this rustic, but I’m glad The Bluegrass Brothers remain true to their vision. Check out “Stanley Tradition.”

A Quiet Evil Lee Harvey Osmond (Latent Recordings, 2009) Turn Tom Wilson loose, and odd things are bound to occur. Featuring Michael and Margo Timmins, Josh Finlayson and Andy Maize, and Brent Titcomb, the album mines deep, virgin musical ground. It isn’t what I would immediately label as roots music, but is has all the elements- original music, ties to country, rock, and folk, and textured vocals that shy away from pop gloss. The album seems dark, yet is soothing and enlightening. The presence of Aaron Goldstein’s pedal steel brings in shades of country, but the overall sound has as much in common with X and Los Straitjackets as it does Fred Eaglesmith.

Western Bell Kelly Joe Phelps (Black Hen Records, 2009) An excellent album to accompany coffee…I drank a lot of coffee during summer mornings last month listening to this one while preparing to write about it. Phelps sings not a word. Instead, in producing a nocturnal collection of eleven solo guitar instrumentals, the west coast native allows his 6- and 12- strings to reclaim their rightful place. Haunting and adventurous, the tunes never get bogged down. So balanced and spacious are the songs, it is difficult to accept that much of the album was improvised in the studio.

The Further Adventures of Los Straitjackets (YepRoc, 2009) Pure fun. Modern surf music created far from the ocean. Nearly every song seems to have been inspired by a previously recorded, familiar song. In “Minority Report” I hear repeated echoes of “This Diamond Ring” and Mashmakhan’s “As Years Go By.” In another, I swear I hear “Theme from A Summer Place.” Thoroughly engaging, if too brief, clocking in as it does at just a cough over thirty minutes. Inspired packaging, too.

Blue Lights on the Runway Bell X1 (Yep Roc, 2009) Sometimes albums surprise me. Duh! I didn’t know anything about this group despite seeing their name in the British mags (Uncut, MOJO) that I read. The rockiest and simultaneously poppiest album on this list, Ireland’s Bell X1’s fourth album was their first for me and brought to mind the wonder years of the 80s British Invasion- Modern English, Lloyd Cole, Nik Kershaw, The Icicle Works, et al. Perhaps most in common with the simple sophistication of East Side Story Squeeze, this one continues to impress. Musically, it is much deeper than most of the modern, non-roots music I encounter.

I’ll post more reflections in a few days. As always, thanks for dropping in at Fervor Coulee. Donald

New review at Lonesome Road Review

I’ve written a review of the Heather Berry & Tony Before Bluegrass  album over at the http://lonesomeroadreview.wordpress.com site. Give it a peak if you are interested. Best, Donald

Roots music column, August 7

Thanks for dropping by Fervor Coulee. While I’ve been a bit neglegent in posting lately, I have been listening to a great deal of excellent music and plan on writing a few reviews and comments in the next week. I am fortunate to be able to hear so much music sometimes it is hard to sort ones thoughts and remain focused for the extended period of time I require for writing. So, excuses aside, I’ll get at it so please stop by again. This week in my roots music column, I reviewed two recently released discs. Gordie Tentrees is a songwriter based out of Whitehorse and he has just released the strongest of his three albums, Mercy or Sin. Rhonda Vincent has had a huge impact on the bluegrass world since returning to the music on which she was raised, and her live presentations have always been crowd-pleasing. With Destination Life Vincent has revitalized her music, and has released what I feel is her strongest, most complete album in years. So, head on over to the Red Deer Advocate newspaper site  http://tinyurl.com/l92274 and give them a read, please.

Because I sometimes write long, the editors had to chop a bit of the Tentrees review to make the column fit; I am well aware that I went a wee bit over on my alloted allowance. So, I’ll paste the last few sentences here:

Producer Bob Hamilton (Hungry Hill) keeps things flowing, and his steel guitars show up when Tentrees sets aside his Dobro.

Alfred, as are but two of the dozen songs, is a Tentrees’s original, and is mined from territory similar to that explored by Corb Lund and Ridley Bent. Bert Jansch’s Rambling’s Gonna Be the Death of Me is provided a dark, concentrated interpretation, while Same Old Blues comes from Indio Saravanja and provides the album with what could serve as its subtitle- “brand new song, same old blues.”

And I thank you for your continued interest. I’m off to the Edmonton Folk Festival, and will write some reflections upon my return. Donald

The Gibson Brothers- Ring the Bell

The Gibson Brothers

Ring the Bell

Compass

 Recorded with a revitalized touring band, the brothers from upstate New York are nothing if not consistent. With their third impressive collection in a row, the formula remains true.

Strong original material is their forte, while a few well- known tunes are provided the distinctive Gibson Brothers’ treatment- not hard core or even traditional, but definitely bluegrass through and through. Their classic country influences are always apparent. Every Gibson Brothers album has a familiar tone, one that somehow simultaneously brings to mind Tom T. Hall, The Band, The Osbourne Brothers, and Tom Petty’s Heartbreakers.

 Eric and Leigh Gibson are bright bluegrass vocalists, and Eric’s five-string shines through their unembellished arrangements. The album opens with long, mournful fiddle notes that soon pick up into something deceptively upbeat. From descriptions of the past (Farm of Yesterday, Bottomland) to songs of a future (Forever Has No End, I Can’t Like Myself), with a bit of a stop at the church of bluegrass (Ring the Bell), the Gibson Brothers have emboldened their reputation as one of the finest contemporary bluegrass bands.