From the December 2003 issue of Bluegrass Now Magazine (unedited) |
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The Osborne Brothers Detroit to Wheeling (Pinecastle PRC 1124) 47:13/40:51 |
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 Anyone who had prejudged the Pinecastle series of discs capturing the history and legacy of the Osborne Brothers should, most assuredly, reconsider their oversight. The Osbornes are one of only a few first generation bluegrass musicians continuing to create bluegrass memories as startling and vivid as they did forty years ago. Their live performances are as dynamic and musically relevant as ever, and this finely annotated package adds credibility to their continuing journey as the favored brothers of bluegrass.
Third in a four part series documenting the familial and musical life of the Osbornes from their roots in Hyden, Kentucky to their rise as country music and bluegrass stars of the Grand Ole Opry, this installment focuses on the music the brothers played in the years 1953- 1962. Far from being merely a collection of modern interpretations of catalog material, this two-disc set is comprised of vibrant music that maintains the high standards held by Bobby and Sonny during their 50 years as the Osborne Brothers.
With the majority of tracks recorded in 2001, the numbers feature the Osborne Brothers band of the time, including Dana Cupp (guitar), Shad Cobb (fiddle), Terry Smith (bass), and Charlie Cushman (guitar). Among these are some of the late Gene Wooten's final sessions, with his Dobro ringing through on his fills; his instrumental rendition of "The End of the World" is a highlight. Sessions from the late 90's feature Terry Eldredge (guitar) and Glen Duncan (fiddle) with Bobby Hicks sitting in on an energetic run through of "Foggy Mountain Breakdown." Two tracks, "Big Sandy River" and "Love and Wealth" date from 2002 and feature Daryl Mosley (bass), David Crow (fiddle), Robert Bowlin (guitar/fiddle), and Tim Graves (Dobro.)
Disc one of the album sets about to recreate the type of radio show and live programs the Osbornes played while living in Detroit and when they had moved onto the WWVA Jamboree in Wheeling, WV. Integral to this era was the music they made with Red Allen. As a result, disc one is filled with numbers that the brothers eventually recorded ("Billy In The Low Ground" and, with a simply stunning vocal performance from Bobby, "Down In The Willow Garden") alongside many more tunes not committed to wax, such as "Mansion on the Hill" and "Down Where The River Bends." A number of instrumentals are interspersed including, "Tahoe," "Cherokee Shuffle," and "Shady Lane," which opens the collection.
The band performances are exceptional throughout the 23 contemporary recordings. Bobby is in as fine a voice as ever, and Sonny's 5-string work betrays none of the difficulties he has publicly admitted in recent years. Listeners will find themselves flipping back and forth through the 24-page booklet to see who is laying down what lick on whichever track they happen to be listening.
The second disc begins with a gospel set that ranges from familiar numbers such as "You Go To Your Church (And I'll Go To Mine)" and "Rock of Ages" through a banjo gospel medley, and Bill Carlisle's wonderful "Gone Home." The performances are sincere and spot on excellent. Rising above this cavalcade of contemporary treasures, for this listener, is a handful of vintage home radio recordings from 1957 WWVA shows. Featuring the Osbornes and Red Allen with their band of the day- Johnny Dacus (fiddle), Ricky Russell (Dobro), and Ray Anderson (bass)- these performances add luster to an already compelling collection of studio cuts. The sonic clarity is surprisingly good after 45 years, and the musicianship is unquestionably terrific. "The Hills of Roan County," "They Sleep Together Now At Rest," and "Highway of Sorrow" are but three of a half dozen memorable pieces.
And, just when it couldn't get better, it does! Also included is a 1961 live performance capturing the first time Bobby sang with Lester Flatt; their rendition of "We'll Meet Again Sweetheart" betrays little of the impromptu nature of the event.
This 31-song collection is essential listening for those who wish to better understand the Osborne Brothers' integral role in the shaping of today's bluegrass sound. The musicianship and vocals are of the highest quality and are sure to please all who appreciate the Osbornes. The incredible packaging, liner notes, and photographs are a credit to the folks at Pinecastle. www.pinecastle.com Pinecastle Records, PO Box 456, Orlando, FL 32802 |
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Rock County Rock Solid (Rebel REB-CD-1796) 33:33 |
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 Me and my RC.
Given the strength of their sophomore effort, the popular 70's soft drink slogan may find itself being used to discuss bluegrass fans' relationship with Rock County. Perhaps the strongest of the new but well experienced set of bands working the circuit, Rock County is comprised of five guys who love to play bluegrass, and play it the way many feel it should be played; no jazz, pop, or new age pretensions are to be found here.
Rock Solid features largely the same lineup as their debut of early 2002 with Ray Craft (guitar), Glen Duncan (fiddle), Don Rigsby (mandolin), and Robin Smith (bass) returning and Scott Vestal joining on banjo. Craft and Rigsby handle the majority of the lead vocals with Duncan and Vestal taking turns as the third part.
The instrumentation and vocals are of the exceedingly high quality these gentlemen have exhibited throughout their storied time within the bluegrass spotlight. Craft particularly demonstrates his mastery of slower tempo numbers on songs such as "For Years," the Harley Allen/Stacey Earle song previously recorded by Sammy Kershaw.
The listener is rewarded when a band takes the time to mine older albums looking for material to flesh out their album. "Roustabout," the Flatt & Scruggs tune and Bill Monroe's "Mary Jane, Won't You Be Mine" are two fine examples of songs that haven't been done to death and are pleasant additions to Rock Solid.
Another inspired song selection lays in Kieran Kane's lonesome but accepting tale of lost love, "Greener Pastures;" a song that has been crying out for a bluegrass treatment for ten years, it is wonderful to hear a spiltsville song free of recrimination with the added bonus acknowledgment of the storyteller's responsibility for the situation in which he finds himself.
Rock County infuses the older songs with fresh arrangements, a necessity that separates the men from the boys within bluegrass. Ray Craft brings to the band a song he originally recorded with Dave Evans some years back, "He Died A Rounder At 21." This classic Jimmie Skinner-penned piece showcases Craft's song delivery as he sings solo, the only number on the album that features no harmony. Additionally, Clinch Mountain Boy Roy Lee Centers' showpiece "All The Love I Had Is Gone" is given a new treatment that melds elements of both the 1971 and 1992 Stanley duet versions into a trio showstopper.
This record is, pardon the expression, rock solid bluegrass played by a band of veterans who have coalesced into a band that, one hoped, would resist the erosion of the hard bluegrass life. Unfortunately, after the release of the album, Ray Craft left Rock County. www.rebelrecords.com |
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Sadie Compton Trouble Come Knockin' (Fachala Records) 34:08 |
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 Sadie Compton is not your typical old-time fiddler. Compton plays stringband style music on a Norwegian hardanger fiddle, a relatively rare and seldom heard instrument even within fiddle circles. Also, she plays with little apparent concern for fitting into the constraints of a genre, flavoring her music with Cajun, bluegrass, and old-timey sounds. Finally, Compton thanks her tattoo artist within the liner notes, possibly a first for an old-time musician!
Compton makes truly beautiful fiddle music that is augmented by some of the finest, and most selective, acoustic musicians working today including Bruce Molsky, James Bryan, Mike Compton, and Candace Randolph. Featuring various alignments, from duos to quintets, the haunting music produced by Compton's fiddle unites the range of sounds contained within several original and traditional numbers. On two, very special tracks, there are three fiddles working together, weaving through and over each other, forming a dazzling fabric of sound. Compton's voice is striking but, unfortunately, only one vocal piece is included; Compton's pure mountain voice brings stark reality to Ola Belle Reed's "When I Can Read My Titles Clear." Produced by Alan O'Bryant, some of this music was captured at a "pickin' party" in Alabama while the remainder was more formally recorded. The music is delightfully loose and spontaneous, warmed with a spirit of friendship that is audible.
An inspiration to non-musicians everywhere, Compton didn't pick up the fiddle until age 26. Embracing the enticing exoticness of Trouble Come Knockin' makes one very pleased that she has chosen to pursue her artistic Muse. If one enjoys eclectic music artists such as Red Clay Ramblers, Jody Stecher, and the Reeltime Travelers, Sadie Compton's version of old-time music is sure to be appreciated. www.fiddola.com PO Box 1143, Dickson, TN 37056 |
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