A night ago, I had never heard of Glossary. I’ve since discovered that they’ve been around for years, have a number of albums, and a very wonderful sound. I’m sharing this because the band needs to be heard, and while I haven’t heard everything and am only the 97th most influential roots music writer in Canada- if I’ve missed them, I’m guessing others have as well.

And here’s the deal- they have two albums up on their website for free download. The first is their new album entitled The Better Angels of Our Nature. As I am wont to say, “It’s better than the Wilco.” Perhaps the best song title of 2009- “Gasoline Soaked Heart,” and the tune lives up to the billing.

The second is a fresh release by one of the band members, Joey Kneiser. Music is not a competition, but this release (The All-Night Bedroom Revival) is stellar- Darkness on the Edge of Town meets Songs: Ohia, just not as happy. The Anti-Gap commercial soundtrack, perhaps.

http://www.glossary.us/downloads/ Give them a listen; you won’t regret the time spent. Thanks for visiting Fervor Coulee, Donald

And a final review for this weekend. This one was originally published in one of the final online-only editions of Bluegrass Now.

Greg Hawks

Coming Home

www.greghawksmusic.com

Master of a rich baritone, Greg Hawks comes to bluegrass after wandering a variety of country roads. With the unheralded Coming Home, adventurous listeners are in for a treat.

Familiar to some from his root-rock debut Fool’s Paradise six years ago, Hawks has dispensed with Springsteen-flavored Americana in favor of more rustic sounds. Comprised of a dozen originals and a pair of public domain numbers, Coming Home has all the earmarks of becoming a bluegrass favorite.

On “Just Because You Can (That Don’t Mean You Should)” Hawks reveals a little John Anderson in his voice; elsewhere he reminds listeners a bit of Josh Turner and Randy Travis. These vocal references may hint otherwise, but Hawks’ album is most definitely bluegrass.

Hailing from Mount Airy, NC, Hawks returns to his roots by creating an album inspired by classic mountain sounds, recognition of faith, and devotion to family.

A multi-instrumentalist, Hawks plays guitar, bass, banjo, and mandolin. Several songs feature his multi-tracked talents, while elsewhere Hawks is joined by capable local talents including fiddler Steve Fraleigh. Rick Lafleur provides some drop-dead gorgeous banjo work throughout including on “Sacred Vow,” “I Belong to You,” and “Some Things Are Better Left Alone.”

Ancillary to this, Daniel Aldridge lays down some mandolin on the lead track “What’s Your Hurry,” and Emily Franz provides fiddle and backing vocals in spots.

Throughout the recording, one gets the sense that most of these songs- had they been written fifty years ago- would have sounded natural coming from the likes of Carter Stanley, the Louvin Brothers, or Jimmy Martin.

Beyond displaying impressive vocal talents, Hawks reveals himself to be an astute songwriter. On the title track, Hawks writes, “Well, I’ve seen a lot of places and I know a lot of faces/ In this country that I’m proud to call my home./ So much more I’d like to see if the opportunity/ comes my way before my time on earth is gone.” It is a classic sentiment delivered expertly by a fresh modern voice. It is only one of several such instances spread over Hawks’ award-worthy compositions.

An exceptional, multi-faceted release, Coming Home will be most appreciated by those listeners who like country in their ’grass; this one is destined to become an album that is recommended from friend to friend.

Another from the Fervor Coulee, pre-blog archive.

Originally published in The Red Deer Advocate, April 18, 2008.

Chris Vallillo

Abraham Lincoln in Song

www.chrisvallillo.com

An album of old-time music from and inspired by the times of Lincoln; there’s a commercial bonanza just a-waitin’!

Within detailed liner notes, Illinois songwriter and musician Chris Vallillo outlines the connection each track has to Lincoln, whether a personal favourite of the sixteenth president of the U.S., an artifact of the time, or a contemporary piece reflecting a historical perspective. Anticipating the bicentennial of his birth, Abraham Lincoln in Song present thirteen tunes and songs from the familiar- Lorena, Hard Times, and Dixie’s Land­- to the less known- El-A-Noy and Let the Band Play Dixie.

Vallillo has a pleasant, masculine voice that is fully capable of carrying the nuance of a popular sentimental melody while bringing a bit of bombast to more inspirational numbers. Vallillo’s guitar arsenal is large, and he is accompanied by mandolin, fiddle, bass, and harmonica.

Those interested in the aural tradition and historical basis of familiar songs within a stunning acoustic context are well advised to investigate Abraham Lincoln in Song.

This weekend I made the decision to revamp Fervor Coulee a bit, so you’ll notice a few tweaks. I also realized I hadn’t dug into the non-posted archive for a long time. I dug out this review of Carlene’s ‘comeback’ album originally published just before this blog was born. I’ll make an attempt to update a few older reviews as the weeks pass.

Originally appeared in The Red Deer Advocate, August 1, 2008

Carlene Carter

Stronger

YepRoc

Fans can be forgiven for believing they were unlikely to hear new material from June Carter’s first-born.

On her first album in over than a decade, Carlene Carter displays the passion that has consistently been present in her country-rock hybrid while instilling depth that was frequently missing from her chart hits. Stronger has more than a little of the spirit of her Carter family ancestors woven within the tracks. 

Having spent years out of the spotlight, Carter’s voice is huskier than it was on Little Acts of Treason, her major label swan song. But she displays control and sensitivity throughout, never over-extending her voice.

Her honest treatment of On To You signifies that at fifty-plus, Carter can give those half her age something to consider, and the mid-tempo, country shuffle To Change Your Heart would fit nicely on any of Carter’s mid-90s albums.

While Carter exposes herself emotionally throughout Stronger, the album’s mood isn’t dense or bleak. I’m So Cool is as lively as when she first recorded it almost thirty years ago. Attention to phrasing and delicate instrumentation allows the gentle love song Spider Lace to stand out as a highlight.

But Carter saves the best for last. The album’s intense title track doesn’t mince words, and Carter’s mature performance of what could be a clichéd lyric (“What doesn’t kill me makes me stronger”) elevates the song. When one considers from where Carter was for much of the last thirteen years- addiction, career bankruptcy, criminal charges, family losses- June, Johnny, sister Rosey, ex Howie Epstein- “this hell-raising angel” is entitled to look back with contented perspective. Stronger should become Carter’s signature song.

Without apologizing for her past, Carlene Carter has documented the challenges, celebrations, and lessons of a hard-lived life on Stronger. Not only Comeback of the Year, Stronger is a candidate for Comeback of the Decade.

2009 update- I just listened to Stronger again, and while it holds up quite well, it isn’t the remarkable ‘comeback’ I perhaps thought it was. In too many places lush overwhelms lust, and that can’t be a good thing for a singer with Carter’s vocal traits. Still, I’m glad the album got made, and I’m just as happy that it brought Carlene Carter some positive press after years of less than stellar news.

I love Dale Ann Bradley’s music, and the fact that she is one of the nicest people within the world of bluegrass makes one want to do even more to promote word of her excellent bluegrass music. She recently appeared here in Red Deer, and the show- presented by the Waskasoo Bluegrass Music Society- was absolutely incredible.

http://www.thebluegrassblog.com/dale-ann-with-michael-cleveland-2/

Best, Donald

While the blog host at http://coverlaydown.com/ did not include Fervor Coulee on his list of recommended blogs- and perhaps someday s/he will realize the error in this- I still feel comfortable directing you toward Cover Lay Down.

It is a very good blog, full of downloadable ‘f’olk’ covers and discussion. The labels and artists seem to support this blogger as it would be easy to make them remove the downloadable links if they were displeased by their presence; unlike most blogs offering downloads, this one is hosted from the American NorthEast.

While I don’t want you to leave Fervor Coulee before you’re ready, I do suggest you visit Cover Lay Down at your earliest opportunity. Thanks for visiting, Donald

Thanks for visiting this week. In Friday’s Red Deer Advocate I was fortunate to review two exceptional roots music releases; I’ve listened to both countless times this autumn and discover something new to appreciate each time. Kent McAlister & the Iron Choir recently released How I’ll Remian and it is a splendid collection of songs. Meanwhile, Steve Dawson & Co. have done it again with a fabulous tribute to the music of the Mississippi Sheiks. I’ve been spending a bit of time of late listening to old blues and jug band collections I’ve found myself tripping across and much of the impetus to do so has come from this remarkable album. You can find the column at http://tinyurl.com/yhpvy2v

Thanks again for dropping in, and I hope you’ll find some music to investigate- support the artists and the labels…no one is getting rich on our music! Donald

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

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

As do many of us who write about music, I have thoughts. Some deep, mostly not. Listening to as much roots-based music as I do, song lyrics are especially important to me. My problem is, I’m lazy. And I don’t read music. And I don’t write songs. But I come up with the occasional line that- I think- is clever, pointed, and/or semi-humourous and may work in a song- if I had any talent in that area. So I’ve decided to start offering up some of these here at Fervor Coulee. Songwriters are welcome to use them if the words inspire them to create something from the words or to include the words in something already being created.

Two offerings to start, both of which came to mind yesterday:

1. Her Father Thanked Me (On Our Wedding Day)- this could go two ways. One would be as a sincere, syrupy “Butterfly Kisses” type of song where the Father takes the groom aside and offers his thanks for making his little girl so happy and ensuring her future. Or, and I prefer this one, it could be a twisted little thing where the father thanks the groom for taking on the daughter and all her baggage, for making Daddy’s problem child someone else’s. I can see it working.

2. Here is the lyric I’ve got floating in my head- “I’m getting a sense for how those bison felt, long ago at Head-Smashed-In Buffalo Jump.” I hear Tom Russell singing it (knowing he already dropped Head-Smashed-In Buffalo Jump into a song)  or John Wort Hannam, given his southern Alberta roots. I see the song as being about a guy feeling pressure from behind his back, being rushed into decisions he regrets, and ultimately seeing a cliff before him.

There. I’m awaiting the royalty cheques. Seriously, though- maybe if I throw enough of these pearls (perils) of wisdom out there, something will take! Cheers, and thanks for visiting Fervor Coulee. Donald