From the April 2003 issue of That High Lonesome Sound
 

Michael Cleveland

Flame Keeper

(Rounder Select)
  This simply exceptional bluegrass fiddle album did not receive its deserved attention from me when released last year. Cleveland, IBMA Fiddle Player of the Year, was also awarded, with co-producer Jeff White, well-deserved Instrumental Album of the Year honours. Here is a release that has both feet comfortably within the traditional bluegrass framework while sounding fresh and vigorous. The vocal talents of the under-recognized Audie Blaylock (Rhonda Vincent & the Rage) and Jeff White are featured alongside Jesse Brock's (Lynn Morris Band) mandolin. All the while, Cleveland's Benny Martin influenced fiddling is the star of Flame Keeper with enough changes of pace and variety of sounds to not chase the cats off the porch. A bluegrass masterwork, "Prayer Bells In Heaven," featuring the voices of Blaylock and Rhonda Vincent (and which is still a focal point of Vincent's stage show over a year after Cleveland's departure from the Rage), is a highlight of a disc with no shortage of such. Cleveland's "Lee Highway Blues" is another showstopper. Having seen Cleveland as part of Dale Ann Bradley's Coon Creek band, I can attest to the passion and fire displayed by this young man. Take a breezy waltz through Michael Cleveland's bluegrass world with Flame Keeper.
 

Ernie Thacker

The Chill Of Lonesome

(Doobie Shea)
  If John Anderson sang bluegrass, he might be called Ernie Thacker. With the bluegrass mafia along for the instrumental ride- Steffey, Ickes, Stewart, Tyminski, Bales, et al- former Clinch Mountain Boy Thacker sings music that he feels and means, never minding that he didn't write the songs; he makes them his own. Personally, I felt there were a couple too many, "daddy knows best" type numbers but that is a bias on my part; others may enjoy that breed of creature. As some might say, Thacker is a Hoss, a singer's singer. A trio of Junior Sisk country songs rises above others, along with Sarah Pirkle's "Old Time Drunkard" (listeners of WDVX's Behind The Barn know of Miss Sarah.) A large measure of country vocals, blended with sufficient bluegrass instrumentation, creates one fine amalgam of bluegrass and contemporary country music- old school country, that is!
 

Frontline

Mansions of Kings

(Self-released)
 

From the opening seconds when Leah Larson sings, "When I'm alone, and you call my name," she had me. Her singing voice, somewhere between Alison Krauss and the Rankin Sisters, is gentle but not thin, with a smooth restraint that catches one unaware with its soft Celtic lilt- well suited to the music favored by Frontline. Her forceful lead vocals on "I've Just Seen the Rock of Ages," blending with those of her harmonious band mates, are especially stirring.

Larson's remarkable vocal gift is but the first of several points of strength offered by Frontline, one of the Pacific Northwest's treasures. Dale Adkins is a compelling flatpicker, reminiscent of Jim Nunally with a slightly more aggressive approach to bluegrass guitar. The instrumental number "Twisted" showcases his ability to make the Santa Cruz Vintage Jumbo mahogany sunburst hum. Adkins also plays mandolin throughout the project with a very nice solo being included on "Lost Soldier Son."

Dale Williams provides a true bluegrass hue to the recording with Scruggs-style banjo playing that possesses drive with a sustained melodic element. "Train Going South" and "Dead End" are fine examples of his creative dexterity. Larson's fiddle nicely complements his banjo work on the former number.

Recognizing the importance of the foundation established by an acoustic bass player, Joe Wilmhoff lays down a solid rhythm that keeps the band grounded while adding lonesome baritone lead vocals to several pieces including his self written-number "When Life Is Good." The breakout cut on this album may prove to be a Rhonda Vincent & the Rage-styled burner (written by Dave Evans) called "Take Me Back to the Bluegrass;" the band is driven on this number while Larson's lead vocals move along at a comfortable canter, refusing to race the music to the song's natural conclusion.

Blessed with a range of lead singing styles Frontline, while drawing on a healthy mix of contemporary and traditional bluegrass influences, presents a bold, new face to 21st Century bluegrass. Make no mistake; their sound is lively and wistful, melodic and powerful. Their original material is consistently strong and contributes to the diversity of sound offered by the selected cover material.

Frontline is ready to more to the forefront of bluegrass. Get out of their way! Frontline, PO Box 375, Twisp, WA 98856 www.frontlinebluegrass.com
 

Various Artists

For The Long Haul- Songs For The Open Road Volume 1

(Golden Ring)
  What a cool idea! A collection of truck driving songs performed by several of bluegrass music's brightest, and most youthful, lights. Put together by 'Big' Al Weekley, a bluegrass DJ from Nebraska, For The Long Haul includes vocal performances by Don Rigsby, Valerie Smith, and James King, all of whom do their usual awesome job bringing emotion and compelling storytelling to life. Of significance is Chris Jones (most recently seen appearing with the Chieftain's as part of their Old Plank Road tour), long a western Canadian favourite, who brings his dusky voice to a dark song, "Diesel Smoke On Danger Road." Ken Orrick, of California's Lost Highway, brings a classic country vocal style- full of forlorn longing for a home that doesn't run down the black top- to "18 Wheels Hummin' (Home Sweet Home.)" Also included are Dave Dudley and Leroy Van Dyke, more than holding their own in front of bluegrass musicians including Bryan Sutton and lotsa fiddle. Far from a vanity project, Big Al brings his distinctive voice to two tracks, causing one to wonder why we've never heard him before- the man can flat out sing! Tony King (formerly of country trio Matthews, Wright, & King, as well as J. D. Crowe's band) sounds wonderful performing the Townes Van Zandt classic "White Frieghtliner." Listed as Volume 1, Volume 2 can not appear soon enough. (www.LongHaulMusic.com)
 

Marty Raybon

Full Circle

(Doobie Shea)
  While Marty Raybon has a solid bluegrass pedigree, having been raised on the music and having sung it long before becoming a chart topping and award winning vocalist with Shenandoah, he is, at heart, a country singer. There ain't nothing wrong with that- by combining his vocals with bluegrass instrumentation, he has produced a winning combination. Mostly great songs, top-of-the-line production, fine backing…it just leaves me a bit wanting. This is an album we'll hear a lot about over the next year. Many bluegrass purists will not appreciate it but those less concerned with 'tradition' (whatever that is) are sure to enjoy the toe-tapping, head bobbing, good-time bluegrass country of Raybon. The strongest cuts include "Summertown Road," a wedding song with before and after views, a faithful rendition of "Down The Road," "Home Run Man" and "Next To You, Next To Me," a Orrall/Wright song that was a big hit for the previously mentioned Shenandoah. A rip through "White House Blues" removes most of the cynicism I feel whenever a country singer comes over to the promised land of bluegrass while Jimmy Martin's "The Last Song" kicks as only a Martin tune may. There are only a couple (as a favourite father-in-law- might call 'em) wimpy-ass country songs included; "Ghost In This House" is NOT a bluegrass song…doesn't matter who sings it! And his version of "Prayer Bells in Heaven" pales beside those of Michael Cleveland and Rhonda Vincent & the Rage. Despite my original misgivings, I have to give Full Circle a passing grade. Not Honours, mind you…but a solid B.
 

Wildfire

Where Roads Divide

(Pinecastle)
 
  Two years ago, Wildfire exploded out of Tennesse and into my stereo with an incredible debut album, Uncontained. The followup has arrived and while it doesn't have the benefit of surprise, as did its predecessor, Where Roads Divide displays a more cohesive unit surer of their alignment. If the first album showed Wildfire learning to be a band, this new disc serves as post-doctorate study. For the uninitiated, Wildfire is: Phil "Unc" Leadbetter, a larger than life resonator guitar player who busts notes from the strings like nobody's business; Darrell Webb and Robert Hale, a shockingly smooth tandem of singers sporting mando and guitar, respectively; Barry Crabtree, a stoic 5-string player with Crowe-like dexterity; and the unflappable Curt Chapman keeping the rhythm on the upright. This is a finely recorded modern bluegrass record, reminiscent of the Lonesome River Band's finest recordings. The Bill Anderson/Steve Wariner cut "I Don't Know How To Fix It," (with the memorable line, "I said, 'We're still together,' She said, 'Yeah, that's where the problem lies.'") includes great instrumental interplay between guitar, mando, and reso. An older Anderson number, "The Lord Knows I'm Drinking" deserves considerable radio play. Several originals are included with Hale's "Love Will Make You Blind" and Webb's "All Because of Me" standing out. Jimmy Martin's "The Last Song" seems to be experiencing resurgence in popularity as Wildfire, like Marty Raybon, gives it a whirl. This album contains bluegrass gently mixed with country shadings that should appeal to all who take the time to seek it out. Leadbetter and Chapman appeared with J. D. Crowe at Stony Plain a number of years ago and Wildfire is scheduled for Blueberry Bluegrass this August long weekend.