Jerry Castle and James Alan Shelton Reviews Up   Leave a comment


My reviews of the new albums from Jerry Castle and James Alan Shelton are posted at Lonesome Road Review.

Thanks for visiting Fervor Coulee,

Donald

Jerry Castle
Don’t Even Ask
My World Records
4 stars (out of 5)

By Donald Teplyske

East Nashville’s Jerry Castle has a brand new album out and it is a killer.

The album has many things in its favor, not the least of which is Castle’s voice. While on the opening track, the straight-shooting “Charades,” Castle takes on the vocal inflections and manner of Jim Lauderdale, throughout the album he doesn’t sound like anyone but than himself. Strong and distinct, Castle doesn’t mess around with taking on the voice of his characters, most obviously because it appears Castle is not only the singer of the songs but the one who has lived them.

While on the rockier side—although not a cranked as his previous album Back Side of Down—lyrically Castle’s songs are of classic country nature. With different arrangements, once can imagine Johnny Darrell, David Ball, or even Carl Smith singing some of these songs, especially the affirming “Life Gets Better As It Goes” and “Less Torn.” In new ways he explores themes that have preoccupied country singers for generations—relationships, hard times, promise, self-inflicted damage, and mental anguish.

The appeal of the 30-minute album has been overlooked as artists struggle to compile material for 50- and 70- minutes opuses. On Don’t Even Ask, Castle has 10 songs in 31 minutes and there isn’t a moment of filler. With only a single song over 3:30 and several under three minutes, Castle knows that if it can’t be said on a 45 ‘A’-side, it doesn’t need to be said.

One is left with the sense that Jerry Castle has made more than a few wrong turns in his life, has hurt himself and others. With tunes like “Life Gets Better As It Goes” and “Write My Own Ending,” equally apparent is that he has found his way back through music. In “Write My Own Ending,” Castle creates a refrain that should cause some reflection:

“I try to take less than I’m given,
There’s a time and place for tears.
But if I’m to go the distance, I can’t live in yesteryear,
I want to write my own ending and I will.”

With hooks lifted straight out of the Nick Gilder catalog (“Back Side of Down”) and powerful guitar from Audley Freed and Curt Perkins, original arrangements, and clever writing (“Your brightest shade is always grey,” he sings to the woman who ignores him in “Charades” while in “Less Torn” he gives comfort and hope to another singing “your velvet heart couldn’t be more torn”) Jerry Castle has made an album that should garner plenty of attention.

James Alan Shelton
Where I’m Bound
Sheltone Records
4.5 stars (out of 5)

By Donald Teplyske

Having played guitar with Ralph Stanley & the Clinch Mountain Boys for some 16 years, the name James Alan Shelton is well-known within bluegrass circles.

His cross-picking has enlivened many a Stanley recording. When appearing in concert, Shelton never fails to impress an audience with tasteful playing without overshadowing his boss or fellow band members. While he has made numerous solo albums, the albums Shelton recorded for Rebel in the early aughts are textbook examples of how a sideman can present his music without resorting to showboating.

Unlike previous albums, Shelton handles almost everything on this latest creation himself. Utilizing his home studio, Shelton has spent much of the past three years tracking guitar, bass, mandolin, and banjo parts for these songs. While his inspiration toward this method of recording appears to have been to achieve a personal challenge, Where I’m Bound is a fully listenable and overwhelmingly impressive album.

With only three vocal tracks, the album obviously has an instrumental focus. Shelton’s achievement with this album is much more remarkable as one would be hard pressed to claim an ability to discern that the album wasn’t created with a full band, live in the studio. There is nothing stilted in the arrangements or execution that betrays the recording to be anything but an extremely well-played Americana recording.

Overall, the tunes have a solid bluegrass feel. Shelton’s love of folk music is obvious in his selection of material which comes from the likes of Donovan (“Catch the Wind”) and Tom Paxton (“Where I’m Bound) as well the traditional tune “Home Sweet Home.” Seasonal standards “Do You Hear What I Hear” and “Auld Lang Syne” are also included, with the latter being played at an accelerated tempo that removes the maudlin qualities associated with it.

“Rose Conley,” “Pastures of Plenty” and “I’ll Follow the Sun” provide additional variety to the recording. A playful and bright reinvention of “Buckaroo” is a highlight; while maintaining the melody and tempo of the Buck Owens/Don Rich performance, Shelton’s picking is so clean that it almost sounds like an entirely different song.

With an abundance of well-chosen material from the songbooks of others, Shelton’s “Riding on the Clinchfield” may present as the strongest performance. A full-bodied banjo tune, this one has would fit within any contemporary bluegrass set. The banjo maintains the melody while Shelton’s bass establishes a solid bottom end. Dewey Brown adds fiddle throughout the album, contributing especially rich flavors to this one.

Also appearing on the album is mandolin player Audey Ratliff. Vocalist Dan Moneyhun adds a bit of tenor and youthful vocalist Savannah Vaughn gives “Catch the Wind” a notable rendering.

With bright sounds that positively leap out of the speakers, James Alan Shelton has managed to out-do himself with Where I’m Bound. Play it loud!

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