Randy Kohrs

A Crack In My Armour

(Junction Records  JR2301) 33:51

Nominated as IBMA Dobro Player of the Year each of the last three, Kohrs requires no introduction to resophonic enthusiasts. Others may know his music from Dudley Connell and Don Rigsby’s Another Saturday Night or from John Cowan Band performances.  Kohrs was a member of Continental Divide and appeared on their Feel Good Day release.

A Crack In My Armour is a country record with bluegrass shadings; many ‘grass musicians make appearances and most arrangements touch on a bluegrass sound.

Generously stocked with lyrical ballads heightened by powerful vocals, Kohrs’ solo debut brings Vince Gill-styled weepers to mind; even happy songs sound forlorn. Vocally, Kohrs’ strong tenor possesses more than a passing resemblance to Oklahoma’s favorite son; Gill and Kohrs share a lilting tremolo and a similar phrasing style.

“She looks at me with her Jezebel eyes” is the initial verse line of “I Would If I Could” and Kohrs, whether intentionally or not, eerily hits Del McCoury vocal territory.  Once past this homage, Kohrs clearly establishes his own vocal presence; perhaps the most uptempo song on the album, it is definitely the most bluegrass satisfying.

“Reason For Everything” and “Miles of Heartache Yet To Go” are two other numbers providing liberal doses of bluegrass spirit.  Scott Vestal, whose banjo is featured throughout the album, is especially noticeable on these tunes.  Ricky Simpkins fiddle also stands out within these arrangements.

Kohrs holds obvious respect for the songwriters; not only does he pay the writers the ultimate compliment by singing his heart out, several are featured on their cuts.  Jim Lauderdale (“Anyway”) and Adam Mitchell (“Out Among The Stars”) are invited to harmonize and Judy Rodman accompanies Kohrs on the title song playing both piano and acoustic guitar.

While I enjoyed listening to this album, I would have been more satisfied had Kohrs chosen to ‘kick it up’ a notch or two on more numbers.  The songs, especially those on the last half of the album, lack diversity in sound.

Those expecting a Dobro assault may also be disappointed.  It seems that Kohrs deliberately chose to downplay the resonator guitar presence in favor of a showcase for his singing. 

Randy Kohrs is a strong, capable vocalist- one who could please the masses while retaining his musical integrity much as Vince Gill did through the ‘90s.

(Junction Records 240 Old Hickory Blvd. E., Madison, TN 37115; (615) 860-8687  www.junctionrecords.com  (DT)  END OF BLUEGRASS NOW REVIEWS

Jesse Brock- Kickin’ Grass

(Pinecastle PRC 6501)

As much as I love Jesse Brock’s mandolin work, this album took a bit of time to grow on me.  However, once I eliminated a reservation (more on that later) I was able to kick back and allow the smooth bluegrass sounds to wash over me.

Using the mandolin as the lead instrument can be risky as there is a fine balance between maintaining and forcing the rhythm of a number.  The very talented Brock manages to pull it off admirably throughout this ambitious project- especially on the instrumental numbers.  Among the most impressive pieces is the haunting tonal quality of the album’s final number, “Maury River Blues.”  Bringing to mind a mid-Fifties Western movie as the screen fades and the hero walks into the sunset; a quiet, pensive, and distinguished exit to a stunning debut project. 

Brock is not afraid to wear his influences on his sleeve.  Mac Wisemen- styled vocals are featured on a handful of vintage numbers including “Mother Knows Best” and “The Girl In The Blue Velvet Band.”  Brock peels off some hot mando work utilizing a Jimmy Gaudreau arrangement of Frank Wakefield’s “New Campton Races.”

There is a real bluegrass family feel to Kickin’ Grass as Brock’s Lynn Morris Band compatriots play prominent roles throughout the album.  Lynn Morris contributes clawhammer on one track and Marshall Wilborn provides the bass on all but a couple songs.  Most notably, the amazing Ron Stewart provides fiddle, guitar, and vocals in addition to co-producing the album.  Other prominent guests dropping by to help out include Jason Carter, Alan O’Bryant, Wayne Taylor, Jason Carter, Jim Hurst, Rob Ickes, and former LMB members Tom Adams and David McLaughlin.

Now for the reservation and there was really only one.  The first vocal track, “You’re The Best Of All The Leading Brands,” contains a reductive element that is better left to a previous time and generation.  It casts an unfortunate pall over a project that is truly quite appealing.

Ron Stewart

Time Stands Still 

(Rounder Select- 0479) 35:52

Do you recall a CMH recording titled, The Tennessee Mountain Bluegrass Festival?  Among its twenty-six tracks was “Durham’s Bull,” featuring Fiddlin’ Ronnie Stewart fronting the Nashville Grass.  If you haven’t been keeping up over the last several years, this Ron Stewart is the same boy, now all grown.

A multi-instrumentalist possessing an embarrassing collection of talents including the ability to move, seemingly effortlessly, between banjo, fiddle, and guitar- not to mention mandolin, although only represented by one track here- Ron Stewart establishes a soulful presence throughout Time Stands Still, his first solo offering of adulthood.  (According to Lynn Morris’s well written and exuberant liner notes, Stewart’s first album was released in 1979 at the age of eleven.)

Stewart has played with the Lynn Morris Band for the last five years and his contributions to bluegrass fiddle were acknowledged a year ago when he was crowned IBMA Fiddle Player of the Year.

From the fiddle kick-off of “The Girl I Love Don’t Pay Me No Mind” one senses that time may stand still while immersed in the traditionally grounded but thoroughly contemporary sounds produced by Stewart and his upper echelon sidemen including Marshall Wilborn, Rob Ickes, and Sammy Shelor.

Lacking the smooth vocal gifts of a Don Rigsby or Dudley Connell (who just happens to play rhythm guitar on most of the album), Stewart’s rich voice nonetheless has an appealing quality, a character if you will, moving comfortably from light baritone to a palatable tenor.

To round out the vocals on the album, Stewart invites Wilburn (“Don’t Ever Take My Picture Down”) and Wayne Taylor (“Gotta Travel On”) to lead the way on two numbers.

“Loving you is the easiest thing I’ve ever done,” is but one testament of love’s great rewards contained within Stewart’s ode to his spouse, Christy.  Perhaps the album’s most finely crafted song, the title track never dips into rank sentimentality.  Predominate banjo provides the romantic tension within the instrumentation, lightened by soft fills of Stewart’s fiddle and mandolin, courtesy of Jesse Brock.  All the while Stewart gives voice to his heart’s devotion.

With thirteen tracks, including seven instrumentals (and I defy you not to play air banjo on “Stewart’s Dream”) and six original compositions, Time Stands Still is a worthy addition to any bluegrass collection.  (DT)