Archive for the ‘Bluegrass’ Tag
Lonesome River Band Mayhayley’s House Mountain Home Music Company
The personnel line-up for the Lonesome River Band has remained quite consistent for the past decade or so, and it is arguably the strongest it has ever been—and I am well-aware of the earliest days, thank you very much.
Sammy Shelor remains one of the music’s most accomplished 5-string players. Brandon Rickman is an exceptional lead vocalist and an impressive guitarist. Mike Hartgrove has fiddling skills few can touch, and Barry Reed is a fine bassist and harmony vocalist. Mandolinist and singer Jesse Smathers wasted no time in establishing himself within LRB on the previous Bridging the Tradition album, and Tony Creasman returns on drums and percussion.
LRB will never be Fervor Coulee’s favourite bluegrass band, but one cannot argue that they create great albums of significance.
Mayhayley’s House doesn’t have a weak moment within its very generous forty-three. “I Think I’m Gonna Be Alright” has an appealing, loping vibe that reminds one of 70s country-rock, while a pair of Shawn Camp songs anchor the recording. “As Lonesome As I Am,” co-written with Matt Lindsey, moves along at a good tempo, and benefits from Shelor’s propulsive banjo rolls. Camp’s “It Feels Real Good Goin’ Down,” co-written with Gary Nicholson, is a well-crafted song that avoids easy cliché; instrumentally the song features nice mandolin touches, banjo notes, and fiddling. Musicianship of such a high quality is always appreciated.
LRB has taken to recording Adam Wright songs, and this time out the title track comes from the prolific, Nashville-based writer. Like all good writers, Wright pulls us into a world we may have previously had no understanding, this time the story of a Georgia seer and lawyer; LRB’s telling is spirited and engaging.
Numbers including “Hickory Hollow Times and County News” and “Old Coyote Town” reflect nostalgically for previous times, but do so in uncontrived manner. Renditions of “Fly Away My Pretty Little Miss” and “Ida Red” may appear superfluous, but are presented here with energy and conviction. Reaching back twenty years, Don Humprhies’ morally unpalatable “Blackbirds and Crows” is very ably (and with a bit more verve than the Nashville Bluegrass Band opted for) brought forward for new listeners. Allen Reynolds’ “Wrong Road Again” has had a few bluegrass versions over the years, notably by the Lynn Morris Band, and LRB’s Rickman-led, radio-friendly version should receive attention. [Just checked the Bluegrass Today chart- the song is #1 for this month, so…I guess I am right.] Ditto “Diggin'” and “Lonesome Bone,” songs that have enough shine to attract spins.
Dismiss Mayhayley’s House for the Lonesome River Band’s continued embrace of percussion if you like. You will be missing out on outstanding progressive bluegrass.
Junior Sisk & Ramblers Choice The Mountains Are Calling Me Home Mountain Fever Records
Having released seven albums under his own name in the past decade, as well as recording as a member of Santa Cruz and Blue Ridge, Junior Sisk has the pattern down. One of bluegrass music’s most recognizable and appreciated vocalists, his albums balance the expected elements: traditionally-rooted bluegrass with ballads stirring soulful memories, up-tempo, catchy numbers sparked by stellar instrumentation, and sincere gospel reflections to speak to believers.
The Mountains Are Calling Me Home doesn’t deviate from this template, nor should it. What the album lacks in surprise or innovation, it more than compensates with energy and precision. A mark of Sisk albums is the strength of the material, and this is again readily apparent.
Sisk almost always includes a Daniel Salyer song on his albums, and this time out there are a pair. “What Goes Around Comes Around” is the lead track, and puts the familiar cliché to good use. Elevating the number are Sisk’s smooth, soaring vocals—especially on the chorus—and the songwriter’s decision to move past the expected wordplay to craft a song that is universal and emotionally relevant. A second song, “Shape Up or Ship Out,” again plays with familiar language, and will appeal to a segment of the bluegrass festival audience; it isn’t a song that advances the music, but it does encapsulate the frustration of its protagonist and features attractive fiddling from Jamie Harper. In a similar vein, “I’m Not Listening Anymore” (a Ronnie Bowman/Tim Stafford co-write) captures a failing relationship from a different perspective.
The album’s title track is the album’s feature number. Written by J.R. Slatterwhite, Jr.—a songwriter that I (unfortunately) know nothing about—one immediately comprehends what attracted Sisk to the song. Emphasizing human experience and frailty, the song speaks to the familiar bluegrass theme of the wandering son. Familiar songs include “It’s So Cold,” a track recorded by Blue Ridge on their Common Ground album, and “You’ll Be A Lost Ball,” a bluegrass standard. “What a Way to Go” is not the same song Ray Kennedy snuck into the Country Top Ten in 1991, (and one only wonders what could a bluegrass band do with that one), but is similarly a rollicking, energetic number that could find success at radio.
As Sisk was physically unable to play guitar during the album’s recording, Aaron Ramsey was brought in, and is much appreciated on numbers including “Darling Do You Know Who Loves You” and “Money (Will Not Save You.)” Johnathan Dillon’s mando on the latter gospel number is also worthy of notice, while Jason Davis’ banjo playing drives the album.
The Mountains Are Calling Me Home continues Junior Sisk & Ramblers Choice’s string of well-considered and successful bluegrass projects; it should appeal to his fan base and would be a fine album for those just finding their way in the bluegrass world.
Thank you for finding Fervor Coulee, where it is all about the music. Donald
At Country Standard Time, my review of the first album from Ralph Stanley II & the Clinch Mountain Boys has been posted. It is a strong release, fitting right in with the Stanley Tradition with a mix of familiar songs and new ones. Two has impressed me a number of times over the years with his rendition of “Bluefield” and a pair of Fred Eaglesmith songs (“Carter” and “Wilder Than Her”) being favourites. I quite like his voice, and the way he approaches bluegrass singing. His banjo player Alex Leach is a story all his own- I’ve been listening to him since 2002 on WDVX.com, and have always been impressed by his enthusiasm for the roots and traditions of bluegrass. As a junior high school student, he was putting other broadcasters to shame with his fervor for the music, his knowledge and willingness to learn, and now as a bluegrass professional his playing is crisp and invigorating. Check out this album- it is worth it.
My review of Original, Bobby Osborne’s Compass Records album, has been posted to the Country Standard Time website, linked here. It is a good album, but not a great one. There is much to enjoy musically, and Osborne’s voice has lost little of its power. Musically, there is less bluegrass drive throughout this recording, but the musicianship is exceptional. Still, the album is a bit uneven. Out of the ten songs, four of them are indispensable, and another couple are pretty good. It comes down to taste and preference, but I could have done without the Bee Gees and Elvis covers and they really take the shine off the album, for me.
I’ve reviewed previous Bobby Osborne sets here and here and I know I have also done so elsewhere, but I can’t locate them online. Oh, there’s another one here.
Thanks for visiting Fervor Coulee. Donald
Okay, take a moment an revel in the beauty of that album cover.
Rooted in classic music, the cover of Ned Luberecki’s Take Five recalls the Dave Brubeck Quartet’s Time Out giving it a bluegrass twist. Luberecki takes things further, interjecting a jazz ‘grass interlude mid-set including a fresh take on Paul Desmond’s “Take Five.” The album features several guests, both folks we associate with Luberecki-Chris Jones & the Night Drivers and Becky Buller-as well as those who don’t immediately come to mind when considering Nedski-Dale Ann Bradley, to name the most prominent.
It is a very strong album with lots to offer. My review was published at Lonesome Road Review, but got lost in the mix her at Fervor Coulee.
Donald Teplyske