From the May, 2004 issue of That High Lonesome Sound
 

Larry Cordle & LST

Lonesome Skynyrd Time

(CMH Records)

 
  Not since Del McCoury declared red hair and black leather as his favorite colour scheme has a curious bluegrass dichotomy been as apparent as the melding of Lynyrd Skynyrd's southern rock transposed to a bluegrass setting. To be fair, Larry Cordle's music has generally emphasized country elements to a greater extent than more traditional bluegrass artists. Still, turning "Call Me The Breeze" and "Saturday Night Special" into 'grass takes a brave soul and, for the most part, the transition works. While the arrangements feature decidedly non-BG components (including a female chorus of "ooh, ooh, ooh's" on "Sweet Home Alabama,") Dobro enthusiasts will appreciate the attention to detail shown throughout by Kim Gardner including on this tune and "Freebird." Two 'tribute' songs- one Skynyrd could easily have recorded ("House At The End of the Road") and the other an homage to the band ("Southern By The Grace of God") are very successful, perhaps because most of the selected Skynyrd numbers are so engrained into the consciousness of those raised on late-70's FM radio as to force these bluegrass treatments to work against conscious thought. Reinforcing this belief, a song I was previously unfamiliar with, "The Ballad of Curtis Loew" was my favourite, telling a great story with a very bluesy feel, yet in a 'grassy manner. Some of the Southern boogie rhythms (and subject matter) do not necessarily transfer successfully to the bluegrass arrangements and, for this reason, some tracks such as "Saturday Night Special" may have worked better as instrumentals. While not for everyone, Lonesome Skynyrd Time will likely be enjoyed to like their bluegrass with adventurous twists.
 

Cedar Hill

A Home Made For Me

(RichRTone)
 
 

Before one is tempted to dismissingly mutter, "Cedar Hill? Another band I've never heard of…" and skip to the next column, hold on. Pause. And consider. Frontline. Canadian Whitewater. Restless Lester. Slowdrag. Not too long ago, most of us had never heard these names and we now realize what they have to offer all bluegrass fans. Cedar Hill (not to be confused by a Georgia band of the same name) is as strong as any of the above mentioned performers. Hailing from Missouri, Cedar Hill is the 'real deal'- a traditional bluegrass band who perform powerful and blistering tunes alongside heartfelt and emotionally walloping bluegrass songs utilizing the Big 5 instruments.

 

From the banjo infused lead verse of the album's opening instrumental, "Gunsmoke," Cedar Hill establish themselves as a terrific band. Once Lisa Ray's fiddle jumps in, one is assured a forty minute journey with one of bluegrass music's finest unknown commodities.

On both "Stone Blind Love" and "Carolina Rose" lead singer and principal songwriter Mel Besher exhibits a quality of stylized vocal delivery similar to Open Road's Bradford Lee Folk, calmly drawing out his notes for maximum impact. Open Road is a good reference point with Cedar Hill having the extra intangible of capable vocals from Lisa Ray. The lyrical structure of "Carolina Rose" displays the effects of a master's touch with powerful descriptor's ("his heart was carved from Carolina stone") and atypical gospel redemption subject matter (youthful passion leading to social rejection and eventual almost evangelical social leadership.)

 

Several numbers reveal that the members of Cedar Hill have listened to three or eight Flatt & Scruggs lps- especially in regards to guitar presentation and the aforementioned vocal delivery which is smooth and slightly nasally (and that is a good thing!) A Home Made For Me simply gets stronger the deeper one delves: a cover of "Ramblin' Letters" with beautiful mando fills from Frank Ray; and additional originals from the writers' lives- "Grandpa Built A Church House" (detailing Ray's grandfather's devotion) and "Peewee & Fern" (capturing Besher's parent's courtship and marriage.) One could go on and on (and I have) about this powerful and dynamic, musically proficient, and exceptionally well-written album. Do not hesitate. Go to www.cedarhillbluegrass.com, click BUY, and look forward to the day Cedar Hill shows up in your mailbox. (36 Juanita Drive, Hillsboro, MO 63050)
 

Jerry Garcia & David Grisman

Been All Around This World

(Acoustic Disc)
 
 

For the neophyte or casual listener, Shady Grove is likely a better introduction to the casual genius of Garcia and Grisman; that album is more cohesive and the performances are likely of greater significance. This is not to place a negative shade on this bright collection of acoustic performances; for completists and those who have worn the 0s and 1s from their volume of ACD-21, this collection has much to offer. At times a little jazzy in the most relaxed of definitions ("Take Me," an old George Jones number), other tunes are more frenzic in nature. An instrumental version of "Handsome Cabin Boy" reveals an entire story without words, so precise are the intricacies of the instrumentation. Grisman's mandolin playing is less esoteric on Dylan's "The Ballad of Frankie Lee and Judas Priest" and "Dark As A Dungeon" than many give him credit for, revealing the natural sounds created by wood and wire.

 

If you love Jerry Garcia's voice, as I do, Been All Around This World and its predecessors Shady Grove and The Pizza Tapes are highly recommended. Others should likely pass on this 54-minute collection of unexpected pleasures. All in all, the 12 tracks reveal the curious rapport shared by the bearded brothers in song. (www.acousticdisc.com)
 

Various Artist

Bluegrass Number 1's

(Rounder)
 
  From the vaults of one of the finest of bluegrass labels, 18 Bluegrass Unlimited number one songs are presented in a manner that assures aural pleasure with sufficient stylistic variety. Setting this collection apart from others is the emphasis placed on female vocalists with Rounder's 4Divas- Rhonda, Lynn, Laurie, and Alison- sharing 8 of the 18 spots. While several of the songs are well-known ("Mama's Hand," "The Cold Hard Facts," and "Who Will Watch The Home Place") many are too seldom encountered; examples include "We're Stepping Out Tonight" by Bobby Hicks and 3/5 of the Del McCoury Band, James King's "Thirty Years of Farming," and the Rice Brothers' "Grapes On The Vine." As a bonus, an 8-song sampler from recent releases is included with initial copies; featuring Alicia Nugent, Michael Cleveland with Tom Adams, Ron Block, and more, this disc brings the package to 90 minutes of indispensable music from the heart of bluegrass.
   
From the May, 2004 issue of That High Lonesome Sound column "Gold...In A Way"

Jeff and Vida

The Simplest Plans

(Binky Records)
 
 

While I am fairly traditional in my view of "What Is Bluegrass, Anyway?" I am not so conservative to dismiss artists who pick on the edge of the music, incorporating eclectic Americana styles, while not detracting from the purity of bluegrass. Jeff & Vida is one such duo, a little Welch-Rawlings (in that they mostly perform acoustic originals), a bit Exene-John Doe (with neo-punk street smarts colouring their hillbilly sounds), and a whole lotta George-Tammy (singing hurtin' songs filled with love and strife.)

 

With so many excellent acoustiblue albums released annually (and with many having limited distribution and promotion behind them) one isn't surprised to discover essential discs years after their release. However, if one is in the habit of poking through piles of discs (even electronically on the 'Net) Destiny Discs tend to find those who need to hear them. One such disc is The Simplest Plans, released in 2002 on the tiny Squirrel/Binky family of labels. Members of the same New Orleans bluegrass friendly scene of which Mike West is a leading light, Jeff Burke and Vida Wakeman have released three CDs and constantly tour the Southeastern United States.

 

Immediately apparent is the bleeding throat resonance of Vida's voice; had Wanda Jackson gone down a hillbilly highway instead of the rockabilly road, she may have sounded like Vida. A little hoarse, but hers is a voice that is attractive and, because of its unique qualities, one that is refreshing. When she declares to not bother leaving the lights on "'cause I won't be coming home," she does so with a conviction of spirit that is believable.

Jeff Burke has the smoother voice, one that reminds listeners of Steve Earle circa 1986; this is especially apparent on "The Only Thing Missing," a credible Guitar Town outtake. "Want Me Back" kicks off with a bluegrass melody that wouldn't be out of place on a J. D. Crowe album; once Vida's rough hewn, earthy voice starts up, one recalls Freakwater or the Knitters rather than Tony Rice or Dwight McCall. Some tracks, including "Have Mercy," have a more classically defined country sound with pervasive flourishes of Dobro. This 'old home place' song has the album's finest lyrics: "Have mercy on me, I'm a poor man with a rich history. I wish I was dead so that I'd never see, the place that I love die before me." It gets you at the core!

 

Jeff & Vida's album The Simplest Plans reveal the duo to be the slightly neurotic, inbred descendants of Wilma Lee and Stoney Cooper with songs dark and dreadful in all the ways bluegrass best explores the human condition. Discover Jeff and Vida before everyone else does...they is cool! (Jeff & Vida, PO Box 4088, New Orleans, LA 70118-4088 www.jeffandvida.com or www.binkyrecords.com)