Valerie Smith & Liberty Pike

No Summer Storm

(Rebel Records 0603) 32:42

Bluegrass is as much about people as music. Valerie Smith is an artist who recognizes this fact and places a great value on the opportunities of a modern age. From natural, personal observances on her website, to fully modern recording techniques, and a stage presence that has been compared to nuclear fission, Valerie Smith seems to go the extra distance to make connections with her listeners.

Often mentioned in the same conversations as Rhonda Vincent, No Summer Storm was my first introduction to the music of Valerie Smith and her terrific band. I fell hard and completely for their unified, spirited sound and presentation.

"Sawmill Man" is a story song with a central character defined by only a few well-chosen images and phrases. A man who "calls his darlin' Pumpkin," builds a town only to see the inevitable passing of his era. As with the best of bluegrass, a sing-a-long-able chorus masks the melancholy mood of this David Norris song.

The variety of tempos included on the album makes for a varied and satisfying listen. The title cut is a bluegrass power ballad that uses nautical imagery to define one's unlimited love. "Love Wagon" tells the other side of the Dixie Chicks' "Sin Wagon," while "Walk Away" has a deceiving simplicity of lyric and instrumentation. Liberty Pike embellish the country lament "Sit Down And Cry" with Randall Cohn's banjo and tasteful harmony from Becky Buller and Stephen Mougin.

Smith is a terrific singer who reflects a natural effervescence. Unfortunately, this has been overlooked by some bluegrass snobs who criticize her for not being something she isn't. Her voice is her instrument, one she welds with as much dexterity as any award-winning picker.

The musicianship is strong with Buller's fiddle a highlight. Additionally, her biographical tribute to the late Eddie Miller, included in the expansive liner notes, seems a fitting testament to the man.

The album builds in intensity toward the album's centerpiece song, the only Smith- penned (with husband Kraig) number, "Where the Bluebells Grow." With precision lyrical control, crisp images, and an appealing message ("May you find your heaven, like I have found mine,") about the extension of life, the song serves as a fitting conclusion to an album on which Miller's presence is so much a part.

Tim Smith

The Lonesome Blueridge

(TRS-7002) 54:50

Honesty is important when writing reviews. So let me say- straight out- I am not particularly partial to fiddle albums. I can't help it- I still have a hard time telling the difference between "Turkey in the Straw" and "Billy In The Lowground." That's just the way it is.

I am, despite these shortcomings, a fan of Tim Smith. I can usually tell a good fiddle player from a pretender. And Tim Smith is good. Real good!

I became aware of Tim Smith rather late in the game when he kicked off James King's Lonesome and Then Some. The elegant touch he displayed throughout that stellar project was notable for its spontaneous feel and impeccable execution.

Tim Smith expands upon these characteristics on his latest album, his second self-released disc. Unlike some other recent fiddle excursions, Smith's project has no Celtic pretensions or New Age airs. It is a bluegrass, country, and old-time fiddle showcase that holds a strong band feel central to its core. An original titled "High Meadows" features tasteful interplay between Eric Ellis's banjo, Smith's fiddle, and Wayne Benson's mando. Through it all, Greg Martin's bass maintains the pace set by the 'up front' personnel.

Familiar tunes abound- "St. Anne's Reel," "Bill Cheatum," and "Grey Eagle" being three of the most recognizable numbers. Mr. Monroe's "Virgina Darlin'" is given a spirited workout by Smith and his compatriots. A favorite of mine is titled "D Medley" and incorporates "Soldier's Joy" and "Arkansas Traveler" with other D tunes.

Smith's originals range from somber pieces ("Moonlight on the Ocean," "Pale Moon") to more raucous toe-tappers (the title track, "Grassy Creek"). Always, the playing is true to traditional bluegrass roots and the arrangements allow the supporting cast to be integral to the mood of the album.

Instead of sounding like a fiddle player's album, The Lonesome Blueridge feels like an instrumental, all-acoustic project by a bluegrass band that just happens to have a very good fiddler. It should satisfy those eager to hear an under-appreciated fiddle player at the pinnacle of his career.