Archive for the ‘Mountain Fever Records’ Tag

Junior Sisk & Ramblers Choice- The Mountains Are Calling Me review   Leave a comment

jr sisk

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

 

 

 

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Mac Wiseman & Various Artists- I Sang the Song review   1 comment

Mac Wiseman

Mac Wiseman I Sang The Song Mountain Fever Records

With all due respect to the folks who have released excellent bluegrass and country albums this year, and those who will undoubtedly do so in the coming months, we have our 2017 Americana/Roots album of the year.

An incredible undertaking by Peter Cooper and Thomm Jutz, the most important element of the thirteen songs comprising I Sang the Song: Life of The Voice With A Heart is the source material, Mac Wiseman himself. Nearing 92, Wiseman was born in 1925 and recalls a time few of us can picture outside history books and re-runs of The Waltons. Wiseman is a man who knew A. P. Carter and has now had Sierra Hull share a song with him. Think about that for a half-a-moment.

“It ain’t bragging if you’ve done it,” asserts John Prine gently within the title track, revealing for the unaware that Wiseman performed alongside the acknowledged masters of 20th century roots music. A member of both The Foggy Mountain Boys and The Blue Grass Boys, as well as a charting, featured performer in his own right, Wiseman is a founder of the Country Music Association, and inductee to both the International Bluegrass Music Association Hall of Fame and the Country Hall of Fame.  A label executive and producer—and one of the finest bluegrass gentlemen I’ve had the pleasure of encountering, however briefly— Wiseman was always far more than “just another young hillbilly.”

The majority of these songs are obviously bluegrass, a few clearly country, and others find that sweet, magical spot between the two. Cooper and Jutz had the inspiration and wisdom to listen to and converse with Wiseman, finding in his stories threads to embroider  the ten new songs created together to communicate a compelling narrative of anecdote.

Naturally, the singing is incredible throughout. Recent IBMA Male Vocalist of the Year Shawn Camp is given a pair of songs, as is Milan Miller who appears with Buddy Melton (another IBMA Male Vocalist of the Year) and Andrea Zonn. Junior Sisk, yet a third IBMA vocalist recipient, also has two lead appearances, “Crimora Church of the Brethren,” on which he is joined by Ronnie Bowman (yes, another IBMA Male Vocalist of the Year) and “The Wheat Crop”—with the ladies of The Isaacs—which laments the lot of the poor farmer. These performances are expectedly outstanding, and the history-rich lyrics and eternal melodies provide galvanizing framework for blessed voices.

Justin Moses (fiddle, banjo, and Dobro) and Hull (mandolin) work with Jutz (guitar) and Mark Fain (bass) to serve as the house band, uniting to create a consistent instrumental environment. Cooper and Jutz harmonize on several tracks, providing further uniformity.

Within a song, Wiseman (“The Guitar,” via Moses and Hull) takes us from receiving his first Sears Roebuck, ragtop box, to the eventual day he stopped “playing in G and singing in C” to nail “There’s An Empty Cot in the Bunkhouse  Tonight” for an audience of one. As the album unfolds, his experiences through to the hardships of the depression (“Barefoot ‘Til After the Frost”, “Three Cows and Two Horses”) are revealed in a natural, homespun manner capturing the vernacular of his rural upbringing down to cold “feet just as red as a gobbler’s snout.” In the universal and frustrating balance poverty, even when things improve for Wiseman’s family (“Manganese Mine,”) another discovers only hardship and tragedy.

“Simple Math,” one of two sang by Americana icon Jim Lauderdale, details further experiences from Wiseman’s youth following him into early gigs as a professional musician including his big break playing Molly O’Day sessions. Lauderdale, one of the most prolific and versatile vocalists working today, adroitly relates the simple truths of Wiseman’s observations.

As compelling as the connections to Wiseman’s life are across the album, the fact that each song stands independent released from context is indicative of their significance. The bluegrass chart hit “Going Back to Bristol,” sung by Camp, radiates universal appeal, whether you’ve ever been near the border community, cut a side with Flatt & Scruggs, been near a Studebaker, or not.

Alison Krauss joins Wiseman on the closing benediction “‘Tis Sweet to Be Remembered,” one of his earliest successes, for a performance joining generations in hopeful love of music and life. Wiseman drops in on a few of these numbers, providing a foundation for the lyrics and music, but also allowing those with the greatest of admiration to communicate his story through the voices of generations influenced by “The Voice With A Heart.”

For thirty-eight minutes, timeless memories are communicated. Through time, these performances will be shared to become part of our collective memory.

Visit https://mountainfever.com/ to order.

Thanks for visiting Fervor Coulee. @FervorCoulee