http://www.thebluegrassblog.com/liz-meyer-rip/ More at the Bluegrass Blog; Liz was one of the strongest women, strongest proponents period, of bluegrass music internationally. Her suffering is over. Give her a listen.
From Bluegrass Now, 2005: Gold In A Way
Liz Meyer – The Storm Strictly Country
Although she migrated to the Netherlands, Liz Meyer maintains a high profile in North America with appearances at the 2004 World of Bluegrass, and a string of songwriting credits that includes cuts by Auldridge, Bennett & Gaudreau, Kate Mackenzie, and most recently “Bad Seed” from Laurie Lewis and Tom Rozum.
Joined by some of the most respected surnames within the bluegrass and acoustic worlds- Fleck, Block, Douglas, Bush, Duncan (both of ‘em), House, Ickes, Cosgrove, and others- as well as Emmylou Harris, Meyer’s mature voice highlights the recording with its jeweled quality, reminiscent of Kathy Mattea. With instrumentation ranging from fairly standard, modern bluegrass arrangements, to those exploring the new acoustic frontier, Meyer’s The Storm is that rare album that should appeal to both the festival faithful and those more comfortable on the outer edges of the music.
There is wistfulness about the album, a sense of looking back and considering, evaluating, and finally accepting one’s fate. Meyer’s use of natural metaphors- the rain to cleanse body and soul, the wind as heartbreak healer, the storm that enlightens the intoxication of flowers, the embrace of night- lends a mystical element. The substantial lyrical mass, the intensity of the images, and the messages of longing and companionship, while not unfamiliar within the bluegrass canon, have seldom been laid so bare, challenging the listeners to invest themselves in an almost novelistic, interactive process.
With the A-List of instrumentalists bringing their best efforts, the album possesses an atmosphere of support, friendship, and strength. Resophonic masters Jerry Douglas and Rob Ickes embellish the sound with their steel offerings, while the banjo platoon of Ron Block and Bela Fleck electrify the tracks on which they appear. Mark Johnson contributes clawhammer banjo to “Someday You Will,” lending Meyer’s tune a foot-stomping atmosphere.
Liz Meyer has created an engaging, meaningful, and musically substantial album best suited to mellow, reflective moods. On the album’s closing track, Meyer’s sings Only please don’t waste these stars and space, when I’m running out of time; let us hope that such a talent is not ignored, and has the opportunity to share many more songs.
