Pickin' On U2

A Bluegrass Tribute

(CMH-CD-8589) 50:12

The latest in the Pickin' On… series features a cast of musicians interpreting material from Ireland's U2. Superfluous drumming mars this otherwise enjoyable listening experience featuring 5-string banjo, mandolin, fiddle, and bass.

The interplay of producer Brent Truitt's mandolin and Lee Hanover's Dobro is especially dynamic on "With or Without You;" this gentle song, with the resophonic guitar taking the place of vocals, is hampered by a heavy handed drum rhythm which is distracting and, as throughout the project, unnecessary.

Recording artists should make choices based on their intuitive understanding and appreciation for music. If they feel drums are important to the sound to which they are striving, so be it.

However, when one includes drums in a bluegrass project, inevitable dangers present themselves. For example, Byron House's bass playing, frequently overwhelmed by monotonous drumming, loses its richness.

Only two tracks do not feature drums and, not surprisingly, are the most successfully rendered into bluegrass songs. "One Tree Hill" has the textured feel of interplay one expects of top quality bluegrass projects. Tim Crouch's fiddle is prominently featured alongside the banjo work of Richard Bailey; this up tempo number could be a traditional Irish tune, passed through generations of family musicians. "Trip Through Your Wires" possesses similar qualities.

Had the producer realized that the sounds his musicians were creating was sufficient without the addition of drums, Pickin' On U2 could have satisfied bluegrass fans with well crafted interpretations of U2's music. The banjo and mandolin fills contained herein alone are enough to drive these well crafted rock and roll songs into the bluegrass world. CMH Records, PO Box 39439, Los Angeles, CA 90039

Various Artists

The Rocky Top Album

(Brave Recordings) 36:28

Would someone please explain the joke to me?

Obviously the McCourys and Mac Wiseman know something I do not or they would not allow their names to be associated with what can only be described as the most ill conceived and patently unnecessary musical endeavour since the Ethel Merman Disco Album.

With Wiseman lending a square dance call to something called "Rocky Top Slide" and Del McCoury rapping to "Groovegrass Girlz" (a reworking of "Buffalo Gals,") one has positive proof that the frost is forming in warm places. Throw in a mix of Del-led "Rocky Top" that features a seemingly synthesized rhythm section and the cheerleader anthem "We Need A Touch Down" (replete with sampled Minnie Pearl "How-dees,") and I was off to Walgreen's searching for a straight razor.

I can only assume that this release is intended as a novelty to be played at college football games to show how uncool hillbillies are when they try to go uptown.

Even a straight forward song, like Charlie Daniel's tribute to all things orange, football, and Tennesseean, is pedestrian at best and silly at worst ("another team loses and heads for home, crying volun-tears.") The Osborne Brothers are the only featured performers who escape unscathed as their rendition of "Rocky Top" is true to their tradition.

I did, however, find one bright spot among all the hip-hop scratching and posturing. Del has the honour of delivering the hilarious assertion that his girl "sounds like Lester and looks like Earl!"

When visiting your favourite music shop, should you spot the bright orange The Rocky Top Album disc cover in the bluegrass section, do the uninformed a favour- remove it and hide it in the cutout bin. That is where it belongs. You do not need an album that features Del, Mac, Sonny & Bobby, and the line "Keep it freaky, baby!"

Paul Brewster

Everybody's Talkin'

(Ceili Music) 40:04

Paul Brewster, a member of Ricky Skaggs's Kentucky Thunder and formerly of The Osborne Brothers and Knoxville Grass, has a deep bluegrass pedigree and is deservedly respected as a lead and harmony vocalist and a fine rhythm guitar player.

Everybody's Talkin', his initial solo release from Skaggs' Ceili Records, is therefore a sincere disappointment for those looking for energetic bluegrass music, inspired country sounds, or a riveting amalgam of both. Despite the appearance of banjo and the odd mandolin fill, it is instead a collection of uncomfortable, easy listening country pop- even, polite, polished, and- ultimately- bland and forgettable. While Brewster is welcome to create whatever type of music he and his record company desire, they need to be held accountable when the project so significantly fails as a listening experience.

The album's strongest performances are the title cut (written in the mid-Sixties by Fred Neil and popularized by Harry Nilsson) and "'Til The Rivers Run Dry," surely one of the most lyrically perfect songs ever composed. On these songs, as on the entire album, there is no mistaking the richness of Brewster's tenor. However, within the constructs of this album, there is little onto which to grab hold- it is primarily whispery harmonies and gossamer fluff. The instrumental breaks are standard- predictable in timing and breadth. "Roll Muddy River" is a number that allows Brewster's musician friends a chance to briefly push the accelerator a bit closer to the floorboards while "I Just Couldn't Tell You Goodbye" has a glimmer of honky tonk heart.

Three numbers have Christian religious elements with the most successful being a self-penned written number. "Savior, Lord, and Guide" has lyrics reflective of Brewster's sincere beliefs and may prove compelling to those who seek inspiration in song.

The remainder of Everybody's Talkin' is nondescript in its blandness. "Don't Go," a Tracy Byrd-styled soft ballad with throwaway lyrics ("How could I have been so blind, to a love so pure and kind") is only the worst among many offenders. Unadventurous country programmers are well advised to give "Teresa's Song" a listen; the lyrics and arrangement would fit comfortably with the themes and sounds propagated by Today's Country superstars.

One admires those whose vision exceeds their grasp. One shouldn't be expected to pay fifteen dollars for it.

Kenny Baker

Spider Bit The Baby!

(OMS Records) 40:11

Kenny Baker is a bluegrass fiddling legend. His standing as a recipient of the National Endowment for the Arts National Heritage Fellowship (1993) and a member of the International Bluegrass Association Hall of Honor, having served the longest tenure of Bill Monroe's Blue Grass Boys, and recording innumerable solo albums and making session appearances attest to his legacy.

What may be less well known is the vibrancy, passion, and energy he brings to his current project, Spider Bit The Baby! With the twin fiddle kick off of the title track, one is taken back to a time when bluegrass was New Country. Baker is a man who respects the genre he helped define and is sensitive to the parameters of the sound. His light swing approach is proof that 'traditional' bluegrass has always incorporated less conventional elements and approaches. Delicate mandolin from Aubrey Haynie provides additional spark to the recording, especially the title tune and "Springtime," the Sonny Osborne number.

One could ramble at length about tunings, "instrumental interplay," and "freshness brought to familiar gems," but that would be extraneous. Mr. Baker says it so much more effectively than I ever could:

On Blaine Sprouse, fiddler on several cuts- I don't need to rehearse with Blaine. He can look at me and know that I'm going to throw something at him. He is a real good player. I've known him since he was a boy. Is it fun to play fiddle? Depends. You got good horses to ride, crickey it's good; you got loafers, it ain't no fun. Blaine is good.

On waltzes: I like waltzes. I enjoy playing a nice melody. I can feel them.

On song selection: I picked tunes I wanted to redo. I wanted to do these old numbers I recorded years back; I don't know if I've done them better- that's hard for me to say. A lot of these numbers I recorded with Bill. That "Mississippi Waltz" is one of his so is "Lonesome Moonlight Waltz" "Ashland Breakdown." I played with Bill longer than anyone. He always treated me fine. Didn't owe me a penny. But, I had to stand up for myself at the end (1984) and quit before a tour in Japan. I recorded with him after that though. It was fine- a long time ago. You forgive that stuff.

On Hugh Moore, album co-producer and banjo player- I felt his style would suit my playing better than some others. A lot of banjo players want to play too hot; I want to swing and they want to jump it. I want to play with someone who'll play the way I want.

On working: I was a coal miner for many years. It wasn't too bad. Gave you something to do and they paid alright. I figured, "Get too lazy to work, get your fiddle out." That's what I did.

On Aubrey Haynie: I met him when he was just six or seven years old or so. He is a real fine musician, a great guy- very well mannered. He is real nice to play with.

On reviews: Now, don't you say nothing bad about this 'un!

Mr. Baker, I wouldn't dream of it! Spider Bit The Baby! is a bluegrass album of significant merit.

OMS Records, PO Box 52112, Durham, NC 27717 www.omsrecords.com

John Hartford

Steam Powered Aereo-Takes

(Rounder Select) 52:12

John Hartford's original Aereo-Plain album was a landmark recording that many credit with igniting the progressive bluegrass movement. That album's core of musicians- Norman Blake (guitar), Tut Taylor (Dobro), Vassar Clements (fiddle), and Randy Scruggs (bass)- recorded much more material than could be released in a forty minute album in those halcyon days of vinyl.

Discovered boxed in Hartford's attic, eighty reels of tape have been whittled down to this collection of takes which stand as an exemplar of the quality music inspired artists can create when the restraints of corporate calculator jockeys are cast aside.

The bulk of the numbers served as demos for future Hartford recordings or experiments deemed best set aside for another time. A triumvirate of songs from the original album is presented in alternate formats; "Presbyterian Guitar" is transformed from the original guitar and bass duet into a magical mando trio causing one to breath in deeply and hold for fear of missing a single precious note.

The improvised jam quality of these recordings is apparent on standout tracks including the standard "Where The Old Red River Flows" and a pair of Tut Taylor songs, "Ruff and Ready" and "Bad Music (Is Better Than No Music At All)." Hartford is in excellent voice throughout- gruff and melodic at once; there is no sign of the later ravages disease and time would inflict upon his pipes.

Steam Powered Aereo-Takes deserves to be considered as an extension, not exploitation, of the original 1971 release. Thankfully, Rounder Records recognizes a treasure when it comes their way and are willing to put forth the required financial and logistical efforts to preserve magical historical recordings.

Doc Watson with Frosty Morn

Round The Table Again

(Sugar Hill) 66:29

Doc Watson's eminence as a vibrant artistic treasure is indisputable. His early recordings on Folkways and Vanguard, his mid- career material on United Artists and Flying Fish, and his recent releases on Sugar Hill, are testimony to the breadth, quality, and influence of his impressive body of work. 'Round The Table Again does not significantly add to the integrity of this catalogue.

Frosty Morn, a collective started by Merle Watson in the mid-seventies, includes T. Michael Coleman (bass), Bob Lamar Hill (guitar/piano), Joe Smothers (guitar), and Doc Watson (guitar/banjo) with all contributing vocals. This edition, captured in a 2001 MerleFest concert, includes Richard Watson on guitar.

The most appealing tracks, to many Watson fans, will be the initial numbers. These feature him performing on banjo, unaccompanied, "Lynchburg Town," learned from father-in-law Gaither Carlton, and an a cappella rendition of "Coo Coo Bird."

Watson's well-documented appreciation of the blues- whether country ("Working Man Blues,") swinging ("Blues Walkin' Round My Bed,") or gentle ("Rails Leading West" retitled "Jimmie's Mean Momma Blues")- clearly rings through on a third of the selected numbers. A soft blues number, Blind Boy Fuller's "She's So Sweet," features some evocative guitar picking from Richard Watson.

While it is true that Watson's voice isn't as pliant as in previous years, the richness of his singing more than makes up for any slackening in vocal elasticity. Unfortunately, the remaining members of Frosty Morn lack the vocal distinctiveness or depth expected of premier combos. "Walking In Jerusalem," minus Doc's contributions, brings to mind a festival Open Stage competition. "You Ain't Going Nowhere" and the gospel number "Court On High" receive better treatment but "Show Bizness" and "Battle of Nashville" take away from the quality of this live recording.

The performers attempt to create a 'jam' atmosphere but this seems forced. To the detriment of the performance, Doc tells a few corny jokes- ones we've all heard him tell before- which disrupt the concert's flow. Doc does provide some enjoyable banter- "When I start to yodel, get your heads back 'cause something might fly off and kill ya!"

So, where does this leave us? If you love traditional Doc Watson, you should likely check out other live releases (such as Gerdes Folk City.) However, if you appreciate an artist who is willing to embrace alternative arrangements and performance formats, you may wish to consider 'Round The Table Again. This isn't a stellar, essential release, but it is still Doc Watson- and that is never a bad thing.

Various Artists

Just Because I'm A Woman- Songs of Dolly Parton

(Sugar Hill) 51:25

This is not a bluegrass album. In fact, it only just barely qualifies as a roots music album. Containing production values bigger than Dolly's hair, and sound more layered than Dolly's public visage, Just Because I'm A Woman- Songs of Dolly Parton is a tribute album that could have been as huge an artistic disaster as her Rhinestone movie of some years ago.

That this album, so fraught with musicians, divas, and electricity is at all enjoyable is surprising. The fact that there are moments of genuine inspiration is a tribute to producer Steve Buckingham and the other individuals responsible for calming what could have been a savage beast. Before actually listening to the disc, I was fairly comfortable dismissing the release out of hand as excessive and unnecessary; there is a reason one is required to listen to a disc prior to reviewing!

Much has been written about the impressive lineup of female vocalists who gather here to pay homage to the powerful songwriting gifts of Dolly Parton. While only one has ties to the bluegrass world, many of the studio musicians have spent more than a few weekends playing bluegrass. Alison Krauss transforms "9 to 5" from a pop radio novelty into a Norma Rae-esque personal manifesto and delivers possibly the album's finest individual performance. Telling, however, is that the first sounds heard on the disc are from Larry Atamaniuk's drums.

Harmonists Rhonda and Darren Vincent wonderfully support Sinéad O'Connor's earthy vocals on "Dagger Through The Heart"; with acoustic instrumentation from Mike Compton, Barry Bales, Stuart Duncan, and Jerry Douglas, this rendition should find acceptance from those who favor traditionally based numbers afforded contemporary settings. Me'Shell N'Degéocello reinvents "Two Doors Down" as a funky urban invitation and Joan Osborne is atypically restrained on her interpretation of "Do I Ever Cross Your Mind." Powerful performances are also delivered by roots darlings Kasey Chambers ("Little Sparrow,") Shelby Lynne ("The Seeker,") and Allison Moorer ("Light of a Clear Blue Morning") but one of the most surprising and dynamic renditions is delivered by (it pains me to state) Shania Twain; aided by Alison Krauss and Union Station and Dolly herself, Twain, despite a thinness of voice that ProTools cannot hide, simply owns "Coat of Many Colors."

Two frequently recorded Parton numbers endure less well. In the hands of Melissa Etheridge, "I Will Always Love You" is overwrought while youngster Mindy Smith seems sophomoric in her attempt to capture the desperation of "Jolene." The inclusion of Emmylou Harris' 1978 recording of "To Daddy" is superfluous to the tone and intent of the album.

Given that it has been 35 years since the release of her first RCA album of the same title, it is important to acknowledge that few singer-songwriters have impacted the lives of women as intensely as has Dolly Parton. She spoke for and to rural and urban women, whether married, single, and divorced, struggling, abused, or successful. She did so with plain words, honest emotions, and unclouded gumption. Perhaps a new generation will be introduced to her impressive legacy through these songs retold by modern women.

Not for everyone but those who don't mind a bit of pop gloss should appreciate Just Because I'm A Woman: Songs of Dolly Parton. www.sugarhillrecords.com

The Crooked Jades

The Unfortunate Rake Volume One

(Copper Creek) 56:38

The Crooked Jades rock! But in a good way.

Based in San Francisco, the Crooked Jades self-released three albums before signing with Copper Creek; The Unfortunate Rake Volume One is a re-release of their stunning third album produced by alt.country stalwart Richard Buckner and bandleader Jeff Kazor.

The Crooked Jades play music ranging from rollicking old-time string band instrumentals and mountain ballads to authentic-sounding originals that meld seamlessly with their vast repertoire. The Crooked Jades were responsible for the outstanding soundtrack to The Seven Sisters, seen on many PBS stations.

This album captures the inspirational and energetic elements of the Crooked Jades' live performances. Comprised of old time instrumentation- fretless minstrel banjo, fiddle, acoustic bass, and even a 1891 Martin 2-27- and vocals, the Unfortunate Rake Volume One gathers 14 standards and obscure numbers with 7 originals that embrace the essence of the genre without reverting to retro showmanship, false pretences, or drums.

Traditional numbers include a melancholy rendition of "Fly Around (My Pretty Little Miss)," Liza Jane," Tennessee Mountain Fox Chase," and "Old Joe." Also included are versions of "The Evening Train," Lonely Grave," and "I Saw A Man At The Close Of Day."

Jeff Kazor is as expressive vocalist as one could hope to find performing these sounds of a bygone time. His voice, gruffness smoothed by a muslin of lyrical richness, rings with authenticity and respect. Lisa Berman, playing a multitude of older guitars, possesses a distinctive voice ideally suited to the Crooked Jades's rare sound. Both Tom Lucas and Stephanie Prausnitz contribute to defining the band's fiddle rich atmosphere.

Setting the Crooked Jades apart from many regional old-time bands is the strength and breadth of their songwriting. Kazor is a gifted and prolific songwriter; his "Angel of Mercy" is truly mournful and desperate. Lucas contributes a solo number, "Lucy Molen," that evokes the myriad of possibilities found during the California Gold Rush.

The Crooked Jades have a clear vision of how to succeed in their mission of bringing old time, acoustic music to a wider range of acceptance. This young band of musical veterans brings a hipness of attitude to their recording projects that should be embraced by all who have clamoured for the music of the O Brother phenomenon.

Various Artists

Cool Blue Rocks: rock & roll in the bluegrass tradition

(Sugar Hill) 53:44

For many listeners, the hallmark of a worthwhile compilation is the maintenance of a notable focus while dispelling the instantaneous skepticism frequently associated with retrospective packages.

Having combed through their archives, Sugar Hill has collected thirteen recordings composed within, or readily associated with, the rock and roll genre.

Few selections are as obvious as New Grass Revival's admittedly stunning rendition of Bob Marley's "One Love/People Get Ready." The majority of interpretations are slightly more obscure numbers- Chesapeake ("Let It Roll") and Sam Bush ("Sailin' Shoes") take on Little Feat while the Seldom Scene adapts Dire Strait's "Settin' Me Up."

The highlight may be another Marley song, Bush's "Is This Love," a timeless number previously afforded a bluesy-rock ballad treatment by Pat Travers. The interplay of Bush's mandolin and John Cowan's bass resonates years after its 1996 release on Glamour & Grits.

Classy, note-perfect performances by Bryan Sutton (U2's "When Love Comes to Town") and Sammy Shelor (Robert Johnson/Cream's "Crossroad Blues") are astute selections and may introduce these terrific musicians to less experienced bluegrass fans.

While it has been successfully argued songs inevitably suffer when removed from their original context (Tim O'Brien's Red on Blonde reading of "Tombstone Blues," for example) others are afforded a second chance for study and appreciation.

With an abundance of Bush, Cowan, O'Brien, and Jerry Douglas, as well as thorough if over-zealous liner notes, this collection achieves what the producer set out to accomplish- highlight the bridges which exist between the rock music of the last thirty-five years and today's bluegrass torchbearers.

Various Artists

Old Time Music: The Essential Collection

(Rounder Records) 73:33

Outside of the confusing title of the disc, with the cover art declaring The Art of Old-Time Mountain Music while the spine and disc state the title as Old Time Music: The Essential Collection, this 70-minute survey of old time sounds is as broad reaching as it is satisfying.

As part of Rounder's continuing survey of American roots music, these old-time acoustic sounds should find a welcome ear with those who were enthralled by the music of O Brother and Songcatcher (the music featured in the movie, not on the more commercially minded soundtrack.) While a few of the recordings date to the 60's and earlier, a majority of these 'field' and studio recordings are of more recent vintage, proof that Rounder is committed to continuing the work of the Rinzlers, Cohens, and Lomaxes of previous generations to 'catch' and document authentic folk music performances. Many of the selected tracks are taken from the North American Traditions Series and other Rounder volumes while a handful are previously unreleased.

Several of the names and performances will be familiar to casual listeners. The timeless voice of Almeda Riddle is represented by "I'm A Long Time Travelling Here Below," while Ola Belle Reed's "High On a Mountain" is included, as is Lloyd Chandler's definitive "A Conversation With Death." No collection of Rounder old-time music would be completed without Gaither Carlton and Doc Watson, who's "Tucker's Barn" is a highlight of this anthology.

Less familiar may be the selected offerings from under-appreciated but equally deserving performers such as Wilson Douglas, Haywood Blevins, Clark Kessinger, and the Smokey Valley Boys. Listeners are sure to discover a previously unfamiliar performer or song that will lead to further listening. Asa Martin sings "Death of J. B. Marcum" with a small combo in a previously unreleased recording from 1972. Joe and Odell Thompson's "Black Eyed Daisy" is interesting as one hears the variant of the more familiar "Black Jack Davy" in a compelling fiddle-banjo duo with vocal; representative of their familial ties to frolic or African-American square dance music, the music of these cousins deserves greater study.

In all, 28 selections are included. You'll hear fiddle tunes, clawhammer and knockdown banjo styles, sprinklings of autoharp and guitar, and authentic mountain singing. Above all, you will hear people sharing the music of their ancestors and community.

Blue & Lonesome

Another Song

(Legend Records) 32:35

I'm in the shower and out of my mouth comes, "Straight talkin', nothin' else will do, keep me from walkin', say that it's not true." And it sounds pretty good, with a strong bass groove accelerating the mando of my mind.

And that was when I realized how the debut album from Lonesome & Blue had seeped into my subconscious; after only a half dozen listens, the two-minute lead-off track "Straight Talkin,'" was as engrained in my morning repertoire as any trad. bluegrass song.

Larry D. Sparks (D to all) is the bass player and vocalist for this exciting group of inspired, contemporary bluegrass professionals. Matt Jones contributes guitar and truly soulful lead vocals with banjoist Ronnie Stewart harmonizing in the tenor position and Rick Hayes contributing mandolin. Gerald Evans guests on fiddle.

Another Song is as strong an album as one expects from emerging, national-calibre bands. Blue & Lonesome blend modern approaches to bluegrass instrumentation while honouring the past.

The traditional number, "A Few More Years," while recorded by Chris Jones just a couple years ago, is not an overdone warhorse and Blue & Lonesome's rendition features sharp harmonizing and tasteful breaks. "Before I Met You" is treated to a new arrangement that owes more to Lonesome River Band than Flatt & Scruggs. "Blue Train" is a powerful, driving number about "bringing baby home."

Blue & Lonesome have their feet firmly planted in the traditions of bluegrass as the catalogs of the Stanley Brothers, Flatt & Scruggs, and the Osborne Brothers are represented; "Another Song, Another Drink," "I'll Never Shed Another Tear," and "Rosie Bokay" are just three songs recorded here associated with bluegrass pioneers.

Unfortunately, only one band written number is contained on Another Song. Matt Jones contributes a somber piece as seasoned as time, "Old Rough Lumber Mill," that would have comfortably fit the repertoire of the Louvins; as with many great murder ballads, the motivation of the condemned slayer is left to the listener's imagination.

The sound is sparkling in its clarity as instruments are balanced with a full, living room concert feel being expressed. The rich singing of this band is a wonder to behold.

Another Song is a brisk, diverse ride through a marriage of modern and traditional bluegrass- something old, something new, something borrowed and a whole lot of blue!

Junior Barber & Gary Ferguson

Stuff That Works

(Gunny Sack Music GSM 001) 38:01

Acoustic, country-flavoured bluegrass duo albums are increasingly rare with few performers resisting the temptation to add guest performers and instrumental accruements.

Stuff That Works presents Junior Barber and Gary Ferguson unaccompanied, just Barber's resophonic and slide guitars with Ferguson's flat top guitars and vocals. Many bandleaders and producers fail to recognize how diverse and full-sounding resonating guitars can be- especially when played with the dexterity and tone as demonstrated here- requiring little extraneous instrumental embellishment.

While their rendering of "Choices" fails to match the intensity of George Jones' definitive reading, the song's imagery is conveyed in a heartfelt manner by the duo. They fare better with other well-chosen covers. Guy Clark and Rodney Crowell's title track perfectly fits the relaxed, homespun atmosphere of the album; both the song and performance have the feeling of a mellow kitchen song circle. Scott Miller, one of the finest young songwriters working within the Americana field, has his detail saturated "Dear Sarah" embraced by classic meticulousness.

Gary Ferguson contributes five originals to the well-balanced mix. One deserving of considerable attention is "Kentucky Boy." While clichéd with a "bright lights, big city" chorus, it resembles the type of number Alan Jackson has taken to the upper echelons of the country charts. The album's closer is one of Ferguson's most familiar numbers, "Last Day At Gettysburg," and contains arguably the album's finest lyrical gift: "Can't you hear that Angel Band, singing 'Come home soldier, to the promised land.'"

Barber's lone songwriting credit comes on a swinging instrumental, "Chicken Feet"; Barber's Hawaiian Lap guitar sends out a pleasing, ringing melody. Throughout the project, he proves himself an unselfish partner to Ferguson, demonstrating restraint, ensuring the fidelity of the lyric is never overwhelmed.

"I've Been All Around This World" and "Give Me the Flowers While I'm Living" are other highlights. Ferguson's expressive voice, possessing calm richness belying its emotional impact, deserves equal billing alongside the impressive writing and tasteful instrumental virtuosity.

Assembled seemingly effortlessly and without ego, Stuff That Works is well deserving of praise; few listeners will be disappointed with this artfully crafted, comfortable recording.

Gunny Sack Music 6211 Baltimore Pike, Littlestown, PA 17340

Leftover Salmon

Live

(Compass Records) 63:45

Energetic? Yes!
Thought altering? Yes!
Fun for the whole family? Yes!
Bluegrass? Well, um, I thought…, actually, well… hmmm.

Leftover Salmon, the wacky jammers who have brightened many a dreary festival stage, are back with a concert album that should win new fans, satisfy long-time converts, and inspire endless grumbling of, "Well, that ain't bluegrass- they're 'lectrified!"

Leftover Salmon is not bluegrass, likely never has been (despite what the record company promotional material states), and that is just fine. This is off the wall, dreamtime Mother Earth music that twists genres more readily than drunken conventioneers in Vegas. LoS's Live could be enjoyed by some straight-laced bluegrass fans but is mostly likely to find a home with those most comfortable in a pair of sandals with a batik t-shirt and a floppy, hemp hat.

Captured largely at Salmonfest 2001, the Fester in Lester extravaganza in Lesterville, MO, Live's music is admirably arranged and exceptionally played throughout an hour-long journey to the center of progressive, atmospheric, and (occasionally) bluegrass-grounded jam music. The improvised nature of the music doesn't lose sight of melody and the music comes back to meet up with the beginning sooner or later (but, mostly later!). The lead track, "Let's Give a Party," while setting the tone for the rest of the disc, is likely the weakest song. More challenging is the interplay between the musicians on the extended instrumental "Dark Green Thing" or the celebratory tone of John Hartford's "Steam Powered Aereoplane." The latter song, and also "Railroad Highway," feature guest vocals from newgrass pioneer John Cowan.

You know you're growing up (or just outgrowing sophomoric suggestiveness) when your only criticism is for a profanity-laced, keyboard-based number, "Bill's Boogie"; obtrusive and unnecessary are two adjectives that come to mind. Leftover Salmon have stronger, less embarrassing material available in their repertoire.

Live (pronounced Liv) is dedicated to LoS founding member Mark Vann who passed away early in 2002. It serves as a testament to the creative vision of Vann and his compatriots.

Compass Records, 117 30th Avenue South, Nashville, TN 37212 www.compassrecords.com

Mountain Heart

Force of Nature

(Skaggs Family)

Mountain Heart is a band that has progressed mightily since a tentative but promising eponymous debut of five years ago; the band has matured into one of the finest bluegrass bands currently recording. 2002's No Other Way was arguably that year's finest bluegrass recording and the band has taken their distinctive sound to new heights on Force of Nature, their fourth long player.

There is a fragile line, largely indefinable and entirely subjective, between a polished, tight bluegrass ensemble and a slick, impassive bluegrass corporation. Some of the big name bands fall on one side (from my perspective) while others stand upon a more favourably viewed field. In my opinion, Mountain Heart stands firmly on the 'right' side of the fence. Force of Nature is a full-bodied, modern bluegrass adventure that successfully blends the familiar mountain sound into a progressive, Nashvillian production while retaining spirit and emotion.

While the album is monstrously enjoyable, not every track is completely successful. However, the rough spots- and there are only a couple- are immediately countered by their classic opposite. The lead track, "Heart Like A Road Sign, Head Like A Wheel" is a bit too eager, with the band perhaps trying too hard to establish it as a signature-type number. However, the following track, "Another Day," immediately makes up for this brashness with a comeuppance story song in the manner of "Goodbye Earl." "Life She's Chosen," as well meaning as it is forced and flat, is balanced by the sincerity of "With A Memory Like Mine." With only a single instrumental, some listeners will be disappointed considering that Mountain Heart features six of bluegrass music's most well known musicians- Steve Gulley (rhythm guitar), Barry Abernathy (banjo), Adam Steffey (mandolin), Jim VanCleve (fiddle), Jason Moore (bass), and Clay Jones (lead guitar.) However, the depth of playing featured on the vocal numbers is considerable and the sole instrumental, VanCleve's "#6 Barn Dance," is a good one.

With three outstanding lead vocalists- including former Union Station member Steffey who creates a haunting atmosphere with mandolin and vocals on "Twister (Devil's Dance)"- a Mountain Heart album always provides a varied listen. Gulley and Abernathy, who share the bulk of the vocals, are two of the outstanding lesser-known vocal quantities in bluegrass today. Both can twist and turn a sentimental ballad as ably as they can rip up a burner.

When it was first released on Darrell Scott and Tim O'Brien's groundbreaking Real Time several years ago, "With A Memory Like Mine" brought to mind a late 19th or early 20th Century mother mourning the arrival of her soldier son's body. With current world events surrounding MH's rendition (sung by Abernathy), the homage to sacrifice takes on a contemporary import, all too real considering the weekly and often daily list of the dead scrolled across television screens. Similarly, "Soldier's Prayer" (sung by Gulley) has additional resonance with a subtle, clever twist within the last verse, giving the already moving number added dimension.

One would think a band with six musicians would have no need for instrumental guests but MH sees fit to add contributions from Ricky Skaggs (including Sack Drum…whatever that is), Jeff Taylor (accordion, pennywhistle), and Rob Ickes (Dobro.) Only a member of the Bluegrass Police with ears more attuned than mine could complain of their contributions but just knowing they are there minimizes the 'band' experience of the disc.

Two sentimental 'looking back' songs are paired at mid-album; while each explores similar themes- moving on while looking back- they do so in distinct ways with completely different tempos and arrangements. MH refresh Flatt & Scruggs' "The Old Hometown" with vitality while "Snapshots and Souvenirs" is a more maudlin Gully/Tim Stafford co-write.

One of the album's strongest cuts, "Lonesome Fiddle" is almost hidden at track 11 and represents the Carl Jackson portion of this MH album (each MH album has featured a Jackson song.) Patient listeners will be rewarded with a deceptively simple two-verse number extolling the virtue of a man and his instrument.

Barry Abernathy's 5-string contributions offer further evidence that he possesses one of the most stunning right hands in bluegrass. His fills and breaks are stupendous in their quality and sense of 'right' with the tone of the song. Similarly, Clay Jones provides impressive lead guitar stylings that attest to his rapidly building reputation in the acoustic guitar world.

Mountain Heart is truly a bluegrass force and this new album is one that should find widespread acceptance with the bluegrass community. It is the type of album that will draw in and appeal to those who are less familiar with the music while satisfying the core bluegrass listener.