At the end of each year, writers and broadcasters get to indulge themselves and—one hopes—their readers and listeners with their judgements on the year past.
I’ve spent substantial time reviewing the roots/Americana/whatever you want to call them, if they are on the No Depression list I might have considered them, and even if they aren’t I still may have albums I heard during the past year, and have come up with my definitive (at least for today) list of Favourite Roots Albums of 2016. Of course, your kilometreage will vary: I once received a cranky email from the father of a fairly prominent bluegrasser whose album I didn’t include on such a list several years ago. For those such inclined, I repeat—these are my favorite roots albums of the year. Not the best, ’cause that is silly. And all I can base it on is those albums I’ve heard, and maybe I somehow missed your son’s album…talk to his publicist.
I’ve already posted my Favourite Bluegrass Albums of 2016, and while bluegrass is an essential part of roots music, I’ve chosen not to intermingle the ‘grass into this list. Reason? This way I get to praise more albums. If you care about such stuff, my favourite bluegrass album of the year, Laurie Lewis & the Right Hands’ The Hazel and Alice Sessions would also top this list if I were to include bluegrass amongst the roots. Likely the top six bluegrass albums would have made my top 20 roots albums, and I likely would have found space for Sam Bush, too…
The number rankings, once past four or five, don’t mean much more than a way for me to stay organized: feel free to move your favourite up a spot or three. Full reviews are linked as artist/title.
My Favourite Roots Albums of 2016 are…
1.Mark Erelli- For a Song Likely the album I listened to second most all year. Erelli has been at the top of his game over the past number of years, both with his bluegrass band Barnstar!, as an interpreter of others’ music (his Bill Morrissey album of a couple years back, Milltowns,) as a pissed off (alternately, disappointed) topical folkie of the Woody Guthrie vein (“By Degrees,”) and on his latest full length release, For A Song. For a Song is a quiet album, yearnsome and blue in turn, reflective, observant, and above all honest; the album wove its way into my soul, making me appreciate what I understand and consider that which I don’t. I just wish he would show up in Alberta some time.
2.Maria Dunn- Gathering One of Alberta’s foremost folk musicians returns with her sixth collection of lyrically-rich gems. An artist who places her convictions and heart on display in complementary proportions, Dunn has found balance between sharing the inspirational and compelling within songs that are insightful, artfully constructed, and just plain enjoyable. There will always be more than a bit of the Celtic lands in Dunn’s music, and throughout Gathering African, Asian, and Canadian First Nations influences can also be heard. Like the finest troubadours, Dunn communicates: she is the vessel through which others exist. She reveals the innermost, personal, and captivatingly universal perspectives and insights of devoted parents, the down-trodden challenged by circumstance, those connected to the land by more than choice, and the youthful who rise above.
Certainly one of the finest recordings to be released this year. Those who compare Maria Dunn to Woody Guthrie, Hazel Dickens, Jean Ritchie, and Buffy Sainte-Marie aren’t taking the easy way out: with the release of Gathering she demonstrates that she is an international folk artist of significance.
3.Jenny Whiteley- The Original Jenny Whiteley On this recording, Whiteley satisfies a desire to more fully explore the music that provided the foundation for her development—old-time folk sounds that have existed and thrived for generations. A recognition of her rich and diverse Americana/Canadiana upbringing within the venerable Whiteley clan, this fifth recording is a rootsy masterpiece. In a lesser artist’s hands such a multi-dimensional homage might sound disjointed; The Original Jenny Whiteley is united in its eccentric melding of the rich traditional and roots tapestry—folk, jugband, bluegrass, early jazz and ragtime, Francophone, Dylan, and the blues.
4.The Honeycutters- On The Ropes Fronted by Amanda Anne Platt, the Honeycutters offer up country sounds that have a bit of rock ‘n’ roll push, a combination that enhances rather than detracts from their honky-tonk foundation. Their instrumental interplay is excellent, and Platt has an incredible voice, as powerful as needed and as tender as desired. There exists an intimacy within these songs, all but one written by Platt, and that intensity allows the songs (and their performance) to make personal connections with listeners.
The Dixie Chicks seem a reasonable comparison. Playfully rambunctious and justly pointed, a song like “Let’s Get Drunk” resonates: “…and if the ship is really sinking what’s the use in waiting til it’s sunk? Baby, we’re already drinking, so we might as well get drunk.” Where was she 35 years ago?!
5.Western Centuries- Weight of the World I am sure it is no coincidence that the debut album from Western Centuries vaguely resembles the self-titled release from a late 60s band of considerable Americana-roots influence. Fronted by a trio of songwriters, each singing their own songs with distinctiveness, Western Centuries is a modern country band that encourages cerebral shifts as readily as it does two-stepping shuffles. Drawing inspiration from generations of country honky tonk singers and their bands, Western Centuries is something many of us are continually pursuing—a genuine country band that doesn’t take the easy way reinterpreting familiar songs, but rather pushes their talents toward creating modern classics. Weight of the World is pert darn special.
6.Robbie Fulks- Upland Stories Stone classic this one is. Nominated for a Grammy for “Alabama at Night”—wait a second, Robbie Fulks is nominated for a Grammy! Let that percolate for a minute. Maybe 2016 wasn’t an entirely awful year! There are a dozen memorable songs on Upland Stories, none indistinguishable from those surrounding it. Maybe not Fulks’ most exciting or dynamic album (tough to beat those early albums,) but maybe his best.
7.William Bell- This Is Where I Live I have to admit, when I saw a tweet from Rosanne Cash about a new William Bell album, my first thought was “Is that like the Pop Staples album of last year?” Because I truly thought William Bell was dead. Idiot, me. I first heard William Bell after Billy Idol covered “To Be A Lover,” playing the crap out of that pink Soul of a Bell album in the mid-to late-80s. I’ve now played This Is Where I Live as many times. A beautiful sounding, complete album. Another Grammy nominee. Tied with #8 for Comeback of the Year.
8.The Monkees- Good Times! Hands down, my most played album of the year. No Depression has it on their year-end list, so that makes it roots enough for me. “She Makes Me Laugh,” “You Bring the Summer,” and “Love to Love” are just great songs. Pure pop for old people.
9.Caleb Klauder and Reeb Willms- Innocent Road Featuring the Caleb Klauder Country Band, Innocent Road is comprised of a half-dozen Kluader songs, a few obscure covers, and a healthy dollop of familiar country classics from the likes of Buck Owens and George Jones. The kicker is a track from Paul Burch’s stunning Fool For Love album, “C’est le Moment (If You’re Gonna Love Me,)” artfully sung by Willms.
As much as I enjoy Prine and DeMent and Robison and Willis, I think I might just prefer what this duo accomplishes. There is no artifice within these recordings, no hint of sly aside.
10.Northern Cree- It’s A Cree Thing North America’s original roots music perhaps? Northern Cree are a drum group from Alberta, and It’s A Cree Thing has also been nominated for a Grammy, the seventh time this group from Saddle Lake has been recognized in this manner. It’s A Cree Thing is a powerful collection of round dance songs full of energy, personality, and history. “Oh, That Smile” should be a hit single! Gorgeous.
11.Darrell Scott- Couchville Sessions With consistency his strong suit, and similar in most ways to his breakthrough album Family Tree, Couchville Sessions is a welcoming listening experience highlighted by Scott’s warmly distinctive voice and diverse presentation choices. Recorded around the same time Scott was starting to ‘break’ 15 years ago—working with Tim O’Brien and Guy Clark then—this is a set of well-aged performances captured in Scott’s living room, the gestation of which are disguised within the sultry “Come Into This Room.” It provides continuing evidence that Scott is one of Americana’s most vibrant visionaries.
12.Matt Patershuk- I Was So Fond of You Back in January or so of this year, I was listening to the radio and a four-song set was played-some combination of Corb Lund, Guy Clark, John Fulbright, and Patershuk, and I recall realizing that I couldn’t tell which of those guys was from La Glace, Alberta and making his living in construction. Put his songs on WDVX, and Patershuk would sound as comfortable alongside Darrell Scott, Fred Eaglesmith, and Chris Stapleton. Heck, add Sturgill Simpson, Hayes Carll, and the rest to the list. Patershuk is the real deal, folks. If you are missing the country, the kind of country music recorded in the days when there was more grease and a little less gloss, check out I Was So Fond of You.
13.Eric Brace & Peter Cooper- C & O Canal I suspect that I would enjoy passing time about a round table with a cool beverage in my hand in the company of either Eric Brace or Peter Cooper. Two of my favourite musicians, songwriters, and wordsmiths, Cooper and Brace have released a strong slate of albums over the past decade. C & O Canal, their latest, pays homage to the folk and bluegrass music the two encountered in Washington, DC in the 70s and 80s.
14.Rory Block- Keepin’ Outta Trouble A tribute to Bukka White, this set is so strong that it deserves a place in my Top 20 rather than as part of my tributes/collections list that is still being assembled. Block goes beyond White’s music, creating original music inspired by his life and his approach to the blues. With attention to detail, but an even greater sense of purpose, Block enlivens these performances with a balance of passion and precision that breathes life into oft-encountered numbers. Her voice is magic, and her approach to blues guitar is clean, restrained, and just damn fine beautiful.
15.Dori Freeman- Dori Freeman Freeman isn’t interested in presenting herself as some social archeology project, the mountain singer untouched by modern sway. She is a contemporary vocalist, one touched by the influences of her rural mountain upbringing as well as less-rustic contributions. She is a folk singer, a country singer, and a pop singer, all rolled into one appealing vocal package. Having written these ten songs, Freeman most obviously has her own viewpoint and voice, one that has been honed by producer Teddy Thompson; the focus of the arrangements, musicians, and production choices remain on Freeman and her songs.
16.Red Tail Ring- Far Away Blues How did this relatively unheralded set have such a significant impact on me that it took about two months to (barely) uncover the words to attempt a review? It is danged freakin’ good. This Michigan duo of Laurel Premo and Michael Beauchamp is incredible. They have the rare ability to inhabit songs, removing the barrier of time, place, and reality between their performance of ancient tunes “Yarrow” and “Come All Ye Fair & Tender Ladies,” their own timely compositions, the recorded medium, and the audience. You are transported into the recording, watching the pair lean into their songs as they maintain eye contact to communicate chords and progressions.
17.Chicago Farmer- Midwest Side Stories Cody Diekhoff—okay, Chicago Farmer—doesn’t set out to do anything fancy on Midwest Side Stories. He has insight into the experiences and internal dialogues of contemporary working class folks, and has the artistic ability to convert these into songs of substance and interest. “Skateboard Song” touches on a whole lot of stuff—youthful disenchantment, small-mindedness, finger-pointing, and police harassment, just to start—over a hard-beaten melody that would do both Weezer and Dan Bern proud. Chicago Farmer’s mid-western insights do not limit these songs: they appeal whether you are rural or urban, upstate or down, blue- or white- collar, Canadian or American. “Rocco N’ Susie” are our neighbours, the ones we don’t really know, but are more like us than we care to admit—a couple pay cheques away from foreclosure, a few months from desolation, several bad decisions from remand. The gradual journey from independence to dependence is identified in “Farms & Factories,” suspicion thrives in “Revolving Door,” and the night shift margins are explored on “9 pm to 5.”
18.Margo Price- Midwest Farmer’s Daughter I had several albums circling around these final spots, and I went with the ones I did because of their genuineness, their apparent authenticity. There is little to suggest Price considered market configurations or sales ramifications when compiling the songs for this release. Like Hazel Dickens did and Brandy Clark does, Price sings and writes of true life situations, and like Dickens (but not so much Clark) she doesn’t add a lot of spit and polish to the music. When I hear “Four Years of Chances,” “Hurtin’ On the Bottle,” “Desperate and Depressed,” and “This Town Gets Around,” I imagine I’m experiencing something similar to what folks felt listening to Loretta Lynn for the first time more than fifty years ago; still, I don’t think Loretta ever sang of blow jobs.
19.Corey Isenor- A Painted Portrait (Of the Classic Ruse) This is country music. Just not country music. There are times, as in “From Towers to Windmills,” that I am reminded of New Order (“Love Vigilantes.”) At other points Isenor’s approach reminds me of Matthew Lovegrove’s Woodland Telegraph: sparse, minimalist and achingly poignant (“Queen of Calgary” and “Diamonds on the Moon.”) “The Navy Blues” is catchy and complex, with Andrew Sneddon’s pedal steel providing additional melancholy. Rebecca Zolkower and Desiree Gordon’s vocals lend depth to several songs, as do Liam Frier’s guitar contributions. Alt-country continues with Corey Isenor.
20. Grant-Lee Phillips- The Narrows Sometimes you locate an album never realizing you were looking for it. The Narrows is one of those albums. I have a couple Grant-Lee Phillips albums, ones I listened to a few times upon purchase and then filed away in the drawers. I was looking around the internet one night a few months back and clicked on a video link for “Tennessee Rain.” Before the song was finished playing, I had gone into iTunes and hit Buy. Raucous in places (“Rolling Pin”) and atmospheric elsewhere, the deluxe edition of the album provides additional takes that extend the pleasure of the listen. While the Drive By Truckers delivered a more timely and angry disc, GLP produced the more enduring one.
I’m out of words, but also enjoyed these discs:
21. Brandy Clark- Big Day in a Small Town
22. Mary Chapin Carpenter- The Things That We Are Made Of
23. Parker Millsap- The Very Last Day
24. Lori McKenna- The Bird & the Rifle
25. Paul Gauthen- My Gospel
As an aside or addition, my favourite Roots Compilations/Tributes/Reissues of the year are, in no particular order:
VA- 40 Years of Stony Plain
J D Crowe & the New South- S/T vinyl
Gillian Welch- Boots No. 1- The Official Revival Bootleg
Nitty Gritty Dirt Band- Circlin’ Back: Celebrating 50 Years
VA- Wayfaring Strangers: Cosmic American Music
VA- God Don’t Never Change: The Songs of Blind Willie Johnson
VA- Just Love: A Tribute to Audrey Auld Mezera
VA- The Life and Songs of Emmylou Harris
VA- Fast Folk: A Tribute to Jack Hardy
Merl Saunders and Jerry Garcia- Keystone Companions: The Complete 1973 Fantasy Recordings vinyl box
(Not included in the above list are excellent tribute [or tribute-ish] albums from Del McCoury Band, Laurie Lewis & the Right Hands, The Earls of Leicester, Rory Block, Jenny Whiteley [tribute to her family’s musical roots,] and Eric Brace/Peter Cooper, all of which made my top Bluegrass or Roots album lists.)
Finally, some 2015 albums didn’t get as much attention from me last year as they did in 2016, for a variety of reasons. But, man- did I play the heck out of them this year: Linda McRae- Shadow Trails; Chris Stapleton- Traveller; Josh Ritter- Sermon on the Rocks; Sam Baker- Say Grace; and Steve Forbert- Compromised.
BUY SOME MUSIC, DAMMIT! Roots musicians deserve our support.
Best for the New Year, Donald
Rory Block Keepin’ Outta Trouble: A Tribute to Bukka White Stony Plain Records
Indisputably, Rory Block is one of the most impressive contemporary blues artists. Rooted so deeply in country blues traditions, Block can’t be anything but authentic. Unfortunately, I’ve not caught every installment of her Mentor Series, which started with her tribute to Son House in 2008 and now stands at six volumes, but I’ve heard enough to know that she does nothing in half-measures.
As Block writes in her liner notes, “More than any artist in my Mentor Series, Bukka inspired me to write new songs.” With that, one shouldn’t be surprised that Block has done a true tribute here; not only has she crafted five Booker T. Washington “Bukka” White songs in her own individual, immitigable style, but she has created a further five originals capturing the time and mythologies of White’s life and career.
An exciting album from start to finish, Block—who plays everything on this disc, including percussive Quaker Oats boxes—and co-producer Rob Davis establish a sparse, natural sound.
Opening with a pair of originals setting the table as a frame of reference for both the uninitiated and the connoisseur, in short order Block nails standards including “Aberdeen Mississippi Blues,” “Fixin’ To Die Blues,” and “Parchman Farm Blues.” With attention to detail, but an even greater sense of purpose, Block enlivens these performances with a balance of passion and precision that breathes life into oft-encountered numbers.
Masterfully, she closes the set with the album’s most significant performances. Built upon “Bukka’s Jitterbug Swing,” Block’s “Gonna Be Some Walkin’ Done” captures not only the reality of White’s circumstance, but envelopes the traditions of finding something new in what has come before. “Back to Memphis” pulls everything together, encapsulating eighty years of blues history and development in five minutes.
As someone who doesn’t have much patience for raucous noisy blues, Rory Block’s interpretation of the music’s foundation is always welcome. Her voice is magic, and her approach to blues guitar is clean, restrained, and just damn fine beautiful. Keepin’ Outta Trouble: A Tribute to Bukka White is an excellent album.
Thank you for your interest in Fervor Coulee. Donald
Laurie Lewis & the Right Hands The Hazel and Alice Sessions Spruce and Maple Music
I don’t remember exactly when I first heard Hazel Dickens. Odd that, because one can’t really listen to Hazel Dickens without knowing you’ve heard Hazel. Her voice is one that isn’t confused with anyone else’s; there is power in her words and melodies—they communicate to the listener the experiences, convictions, and insights of a powerfully strong woman, one who excelled within an industry dominated by men.
Dickens left her home in West Virginia while still a teen, moving to work in the factories and stores of Baltimore. She used her early experiences to inform the realism readily apparent in her songs, be it the emotional turmoil of leaving home (“Mama’s Hands,”) the longing of home from away (“West Virginia, My Home,”) and a sense of place that few writers could capture (“Hills of Home.”) Within “West Virginia, My Home” Hazel captures in ten syllables, seven straight-forward words what others have struggled to communicate in entire essays: “I can sure remember where I come from.”
She was long involved in expressing the struggles and lives of miners in any number of ways, not the least of which are her songs including “Black Lung,” “Coal Miner’s Grave,” and “They’ll Never Keep Us Down,” to name but three. She came to tell these songs in the most natural of ways, having had brothers and family working in the deep, dark mines of West Virginia.
Importantly, Dickens was part of the migration of mountain music to the eastern seaboard, one of thousands who moved from rural communities in search of work and bringing with them the music of their home counties. She championed the music, keeping it at the fore of not only her own life but communicating a relevancy with which the urban community could connect.
That she has written some of the finest bluegrass songs is without challenge. These songs have advanced the cause of women and the working poor in immeasurable ways, bringing strength and dignity to places and circumstances where such was often in short supply. Dickens never shied away from subject matter that some would avoid, be they the protagonists of “It’s Hard to Tell the Singer From the Song” and “Don’t Put Her Down, You Helped Put Her There,” the conditions of the mines (“Mannington Mine Disaster,”) or detailing the impact of miner organization in “The Yablonski Murder.”
So powerful is the Hazel Dickens catalogue that none of these essential songs found their way onto this collection from Laurie Lewis & the Right Hands. And, while they are noticeably absent, they are not missed.
Hazel Dickens left a legacy in song.
Alice Gerrard is one of the living legends of bluegrass music; combined with her decades of recording and performing old-time and folk music, Gerrard has a stout resume that is as varied and dynamic as any you can mention. When Gerrard has completed a song, it has truly been sung. I am so glad that she remains a formidable and important element within folk music. While Gerrard has an extensive resume as a recording artist within several different configurations, as a guardian of old-time music, as founder and past editor-in-chief of The Old-Time Herald, and as a touring musician, she has recorded as a ‘solo’ artist only intermittently.
1994’s beautiful Pieces of My Heart and 2004’s equally resonant Calling Me Home: Songs of Love and Loss appeared on the Copper Creek label. As on those recordings, Gerrard’s voice on her contemporary releases (Bittersweet, Follow Me Home) is pure and powerful: Gerrard’s voice is multi-dimensional, and as Lee Smith wrote two decades ago, she can sing anything: “holler, shout, belt it out, swing a little, croon a little, and then flat-out break your heart.
My appreciation for Alice Gerrard is as firm as my admiration of Hazel Dickens. Together, they were incredible.
Well-documented elsewhere, Hazel and Alice met and began singing at Washington, DC/Baltimore house parties, moving onto coffeehouse performances within a burgeoning bluegrass environment. Their collaborative recording output—four albums as a duo as well as a fifth as the Strange Creek Singers with Mike Seeger and Tracy Schwarz—was limited, but highly significant and exceedingly impressive.
One of their greatest admirers is Laurie Lewis. Like many of us, upon first hearing Dickens and Gerrard, Lewis realized that the hard side of bluegrass need not be the domain of men. Laurie Lewis is no newcomer to bluegrass music, having played almost every festival there is and having recorded excellent albums over the years, The Golden West and Laurie Lewis & Her Bluegrass Pals being just two. However, she has never narrowed her field and has recorded some of the finest folk-inspired music of the past three decades, among them her incredible collaborations with Tom Rozum The Oak and the Laurel and the under-heralded Guest House. Her wide-ranging tribute to Bill Monroe (Skippin’ and Flyin’) was one of 2011’s finest bluegrass albums, and possibly the strongest Monroe tribute released since the bluegrass master’s death.
Lewis has always been versatile, performing as a duo with Rozum or leading a full-fledged bluegrass band with equal effectiveness and charisma. As a musician, she is frequently called on to provide session fiddle and vocal performances and to augment an established group. In a one week period years back I saw her with Kathy Kallick- a frequent singing partner- in a Red Deer bluegrass setting and the next weekend filling in with Dave Alvin’s hard-hitting Guilty Women at Hardly Strictly.
She has at least one signature song, “Who Will Watch the Home Place?” Kate Long’s exceptional song awarded the IBMA’s Song of the Year award in 1994. She has also been awarded the same organization’s Female Vocalist of the Year award twice and has been nominated frequently.
Like Hazel & Alice, Laurie Lewis is bonafide.
I’m told that Laurie Lewis has, with others, led the charge to have Hazel and Alice inducted into the IBMA Hall of Fame. Unfortunately, that induction hasn’t yet happened. One wonders, why?
I’ve been told there is a faction who believes Alison Krauss must be the first female artist/bandleader elected to the Hall. Fair perhaps, but dang short-sighted. Hazel and Alice definitely deserve a place among the heroes of the music, and one could make a convincing argument that Lewis herself also deserves consideration for inclusion in bluegrass music’s most hallowed hall.
These powerful bluegrass forces come together on Laurie Lewis & the Right Hand’s The Hazel and Alice Sessions, surely one of the most eagerly anticipated releases of this year.
No disappointment here.
With songs drawn from 1965’s Who’s That Knocking through to Gerrard’s 2002 masterpiece Calling Me Home, a full half of the songs are from the Pioneering Women of Bluegrass anthology (a collection of their 1965 and 1973 recordings,) with a spattering culled from two ‘70s Rounder albums and an additional Dickens’ release.
The album kicks off with the energy of “Cowboy Jim,” a song Dickens wrote for the first album based around a scattered lyric partially remembered by her father. The album continues on, exploring the many shades of love, devotion, loss, faith, and heartbreak one would expect from a classic bluegrass set. “James Alley Blues,” one of the few songs here not written by either Dickens or Gerrard, contains a couple brilliant lines of insight including, “Could have a much better time if men weren’t so hard to please;” joined by vocal guest Aoife O’Donovan, Lewis retains the acapella arrangement to most excellent effect.
Tom Rozum is not only one of bluegrass’ most secure mandolinists, but he is a fine vocalist. He is featured taking a couple leads, doing justice to “Who’s That Knocking?” This decision confirms the gender-neutrality of the finest music, songs that reveal themselves no matter who is taking the lead and conveying the story. He also fair nails “I Hear a Sweet Voice Calling,” a tipping of the collective hat to Mr. Monroe.
Hazel Dickens is quoted once saying, “My relationship was always with the words and the story.” The songs Lewis has chosen give truth to the statement. Perhaps Dickens’ greatest achievement, is there a finer song capturing the truth that is the “Working Girl Blues?” Lewis’ rendition is stellar, mournful yet spirited with Lewis’ fiddle conveying equal parts pride and misery. That Gerrard offers up the harmony here makes the experience that much more fulfilling; not surprisingly, it is this song that best captures the spirit of the original recordings. The further treat here is a previously unheard third verse that Dickens once recited to Lewis.
Chad Manning contribute fiddle to a few tunes including “You’ll Get No More of Me,” one of those songs that Dickens might have been referencing in the previous quote; the liner notes don’t make it apparent, but this one must be sung by Patrick Sauber, the Right Hands’ banjo man. “Pretty Bird,” previously released on a Linda Ronstadt compilation a couple years back, comes from sessions for a Rounder Dickens’ tribute album that never emerged.
The Right Hands are Rozum (mandolin, mandola, and guitar) as well as Sauber (banjo and lead guitar on a single track) and Andrew Conklin (bass.) Fiddler Natiana Hargreaves is on five tracks, with Dobro from Mike Witcher on three, including “Working Girl Blues” and Gerrard’s “Mama’s Gonna Stay.”
The album’s vocal showpiece is “Let That Liar Alone,” a song featured on the 1975 Rounder album Hazel Dickens and Alice Gerrard. With Rozum driving the bus, this four-part vocal gospel song will leave listeners mesmerized; Harley Eblem drops in some bass vocals that are impressive. Avoid the devil, folks.
Laurie Lewis places Hazel Dickens with the bluegrass vocal big-three: Bill Monroe, Carter Stanley, and Lester Flatt. Alice Gerrard is a fearsome master of vocal folk, old-time, and bluegrass. The Hazel and Alice Sessions is not only a worthy tribute to a key bluegrass partnership, but an entertaining and formable collection of music. It’s early of course, but doubtless a strong contender for bluegrass album of the year.