CD Reviews

All reviews written by Donald Teplyske   If you would like information on how to order these releases by mail or Internet, contact Donald by Email at waskasoobluegrass@shaw.ca.

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Daryl Mosley & Tim Graves

Remembering the Beacon Brothers

(Pinecastle)

By paying homage to a brother duo whose existence is definitely questionable, these longtime members of the Osborne Brothers band have created the most effective 'word-of-mouth' media campaign to hit the bluegrass world in years. "Who are the Beacon Brothers?" "Have your heard of them?" and similar questions spread over the bluegrass Internet lists in late summer and early fall.

Since no one but producer Sonny O., Daryl (bass and vocals), and Tim (Dobro and vocals) seems to have heard of the elusive Beacon Brothers, it is safe to assume that a tribute to the Brothers Beacon- Rufus and Felix, whose 'history' is detailed in the notes by the equally ephemeral 'Texas" Jack Johnson- served simply to provide a context for a collection of songs, both old and new, that focus on the vocal harmonies and seemingly simple arrangements of a time long past.

Enough background. Bringing to mind the excellent Crowe-McLaughlin album, Mosley and Graves have created a wonderfully woody sounding disc. Performing songs within a style that is equally bluegrass and country, Graves' resophonic work is front-and-center on most numbers while the fiddling of Glen Duncan enlivens every track. Bobby Osborne contributes his readily identifiable mandolin styling with Charlie Cushman providing the guitar work.

Standards are included- "Knoxville Girl," "Satan's Jeweled Crown" and "Sweetest Gift" being the most obvious- but, rather than sound stale, they simply serve as a familiar base from which the rest of the album can be appreciated. The catalogues of Elvis Presley ("She's Not You,") the Wilburn and Osborne Brothers ("Somebody's Back In Town" and "Someone Before Me,") George Jones ("Blue Side of Town,") and Mickey Newbury ("Why You Been Gone So Long") are harvested for less well known but equally memorable tunes. A new song from Tim Mensey, "Driftwood," is a terrific lead off cut.

The duo had a good time making this album, if the closing track is any indication; loose and goofy, "Friend Like Me" finally reveals the truth: "Just want to spend a little time away/ Beacon Brothers burnin' up a Saturday/ We tell stories, jokes, and lies/ The way we've been doing all our lives." Mosley and Graves are the Beacon Brothers- you should get to know them well.

Tim Stafford

Endless Line

(FGM Records)

The first of two exceptional guitar based albums to be reviewed this issue, Endless Line provides a brilliant showcase for Tim Stafford, member of Blue Highway and long ex- of Union Station. Stafford is recognized as a flatpicking master; his lead breaks and comfortable rhythm work herein testify to his ability to manipulate a six-string. I will leave note by note analysis for those with the interest and skills to provide such; balanced between vocal and instrumental numbers, Stafford has created an album whose sound is full and clear- the notes sparkle to life through good quality speakers. Notable in this regard are renditions of "Methodist Preacher" and "Danville Girl," as well as a Stafford original titled "Obsession," which features cello.

"Rider On An Endless Line," one of four songs Stafford sings lead on, includes (what sounds like to me, but may not be) nice Dobro from Blue Highway partner Rob Ickes; Ickes, who appears throughout the recording, also brightens "The Kid," a Billy the Kid number sung by John Cowan. Wildfire's Robert Hale also takes a lead spot, as does the relatively unheralded Keith Williams. My favourite track may be the final vocal number, "If I Had The Money I Would Ride That Train;" Stafford sings his heart out on this one, a number that would fit on any quality acoustic music (not to mention bluegrass) radio program.

Check out Tim Stafford's website at www.tim-stafford.com and order a copy of this album; I cannot imagine you'll be disappointed. He is a nice guy, to boot.

James Alan Shelton

Half Moon Bay

(Rebel)

When one doesn't sing- as is the case with longtime Ralph Stanley sideman James Alan Shelton- the creation of a solo recording is a fine act of weighing instrumental proficiency against carefully considered guest vocalists; include too many vocalists and it becomes a 'project' rather than a fully considered album, too few and one risks drifting toward noodling, elevator purgatory. As on his previous Rebel disc, Song for Greta, Shelton demonstrates that he has mastered the art of balancing the rhythmic and stylistic elements resulting in an ascetically pleasing listen. That Shelton can pick with the best is never in doubt. The guitar playing he contributes- lead and rhythm, flat- and cross-picking- is consistently impressive. A listen to renditions of Bill Monroe's "Road to Columbus" or Grandpa Jones' "Eight More Miles to Louisville" prove his ability.

Guest vocalists include Dan Moneyhun and Blue Highway's Shawn Lane as well as Clinch Mountain Boys John Rigsby and Ralph Stanley II; all are spot on in their delivery and never attempt to overwhelm the contributions of the instrumentalists. Moneyhun's sense of vocal nuance is worthy of notice; on "Foggy Mountain Top" this former Southern Grass bandmate of Shelton's brings a warm, southern gospel lead vocal-style to the recording. With "Little Bennie," a Stanley Brothers song that Shelton has long desired to record, Shelton's boss makes a tasteful appearance singing some high baritone to Two's lead.

The fact that Shelton can gather the most highly regarded of bluegrass sidemen- including Tim Stafford, Hunter Berry, up and coming fiddler Todd Meade, Adam Steffey, Barry Bales, and all the Clinch Mountain Boys- to appear on this dynamic recording is testament to the regard in which others hold Shelton. When Steve Sparkman pushes the tempo during the final verse of "Darlin' Nellie Gray," one becomes fully aware that while speed and clean playing are not mutually exclusive on the 5-string, few can play at such an accelerated pace with the precision that Sparkman offers.

Largely instrumental, one never gets the impression that the musicians are performing for themselves and their inner circle of aficionados. There is a definite Shelton Sound but it is one that is passionate and vibrant, rooted in the sounds of the Carters and the bluegrass pioneers.

Kenny Baker & Booby Hicks

Darkness on the Delta

(County)

If twin fiddling is your idea of a great ole time, this reissue of a 1980 record will be just the thing to warm you on cold winter nights. Not exclusively a fiddlefest, the bluegrass combo backing the pair is comprised of heavyweights of the day including Roy Huskey, Jr., Allen Shelton, and Larry Sledge. Buck White and his mando make several appearances as well.

The pair are not ploughing new ground here, preferring instead to show their talents on classics such as "Roanoke," "Faded Love," "Silver Bells," and the "Westphalia Waltz." When Baker plays on the title track, you know you are listening to the master of bluegrass fiddling. Hicks's harmony playing is complementary to Baker's leads.

I do not pretend to know the difference between a good fiddle album and a great fiddle disc. I only know that this brief, thirty minute disc has received repeated plays. It is well worth scouring the racks for Darkness on the Delta.

Nothin' Fancy

Reflections

(Pinecastle)

Alicia Nugent

Alicia Nugent

(Rounder)

Del McCourey

High, Lonesome, and Blue

(Rounder)

Charlie Waller & the Country Gentlemen

Songs of the American Spirit

(Pinecastle)

I received this disc this summer, the week Charlie Waller passed away. As I headed to the Shady Grove Festival later that Friday, I hesitated when setting the disc on the seat of the RV; did I really want to hear Waller's voice, so aged, thin and strained on his last release (45 Years of Memories,) further ravaged? A couple hours down the road, having made it through the Deerfoot gauntlet, I decided to plug Songs of the American Spirit into the machine; I have not regretted that decision since.

Although the album starts off with "The Fighting Side of Me," never my favourite Haggard song, I found comfort in the fact that Waller's voice, on these his final recordings, sounded so strong and reinvigorated; if I didn't know better, I would suspect vocal tracks from ten or fifteen years ago were being utilized. I played the exceptional Dixie and Tom T. Hall number "Joe" through a full four times before I hit Okotoks, and was still playing the album when I pulled into the Broadway Farm. Not every number resonates personally as a few seem a bit jingoistic for my tastes, but this is Waller's album, not mine.

I type these words on Remembrance Day, bringing additional poignancy to "Be Quiet When Willie Walks By." I wouldn't have thought "Crying In The Chapel" would work as a bluegrass song, but it does. Waller resurrects "A Miner's Life," another number he recorded years ago with the CG. Instrumentally, the devotion of the current Country Gentlemen is apparent; they put everything they have into supporting Waller's phrasing and singing with tasteful, elegant accompaniment. Greg Corbett is allowed free rein on "Blackberry Blossom" while Darin Aldridge lights up his mando on the same number. All members take lead turns on choruses and a song, with Waller handling the lead on most verse leads.

Waller's voice is one that is immediately identifiable- deep, resonant, and textured; if church pews could sing, they would sound as Charlie Waller does throughout this excellent record. A listen to "Crying In The Chapel" or "River of Tears" illustrate this point- the vocals are perfectly restrained, with a classic maturity contained in the notes sung, proving that he could deliver a song right to the end.

If "Let Me Fly Low" doesn't invoke a tear or hard swallow, you ain't listening. Randy Waller's "The Vision," a glorious bluegrass gospel tune that sounds traditional with simple imagery and an up tempo melody, gives promise for the future of the Country Gentlemen; the boys have vowed to continue spreading the music Charlie Waller so loved as long as promoters call. Best to them!

Charles O. Waller, founder of the Country Gentlemen, passed away on August 18 at home in Gordonsville, VA; he was 69.

Nickel Creek

Why Should The Fire Die?

Sugar Hill

The most consistently interesting of those performing on the new acoustic frontier, Nickel Creek’s fourth album (third for Sugar Hill) is a complex listen that stresses at its heart the importance of melody and innovation in musical collaboration. Unlike some stellar instrumentalists who appear to be performing for themselves and an exclusive inner circle- Jerry Douglas, Railroad Earth, Wayfaring Strangers- Nickel Creek’s music is immediately accessible not only to musicians, but to casual listeners of modern folk and pop music.

Performing together since 1989, the youthful trio play fiddle, mandolin/mandola, and acoustic guitar, and mostly limit the augmentation of their sound to acoustic bass; an added cohesiveness pulls the album closer to their bluegrass roots in spirit if not sound than their previous Alison Krauss-produced efforts. Inarguably stellar musicians, Chris Thile’s vocal confidence continues to grow, while the harmonies Sara and Sean Watkins are as tight as ever.

Dreamy and dark are two adjectives that could be accurately utilized to describe Why Should The Fire Die? but it is never mind-numbing or boring; each of the thirteen original compositions offer something a little different for the listener, while the Sara Watkins sung cover of Dylan’s “Tomorrow Is A Long Time” refreshes the 60’s classic for a new generation. A brilliant little effort. www.nickelcreek.com

Ralph Stanley

Shine On

Rebel

Kathy Kallick Band

Warmer Kind of Blue

Copper Creek

Various Artists

Telluride Bluegrass Festival 30 Years

Rounder

Never a traditional bluegrass festival, Colorado’s Telluride has long been a destination for newgrass pilgrims looking for a place to shower. Wide ranging in scope- from Sam Bush’s exceptional arrangement of “Molly and Tenbrooks” thru to The String Cheese Incident’s readily danceable “I Wish”- this collection is geared to appeal to those most comfortable on the edges of the new acoustic frontier. A companion DVD feature (available separately) provides complementary reflections from the performers, and largely different performances with only two common pieces.

The Old Crooked Trail

Hay Holler

Bluegrass music this raw, natural, and lively is seldom heard by the mainstream roots audience; if it were more prevalent, the hall would be packed for every bluegrass show that came to town. Roaring out of the Virginia hills with hard-driving, pin your ears back bluegrass instrumentation and singing, the Bluegrass Brother’s 14-song release serves as a snort of smelling salts among the over-produced, generic bluegrass currently popular. A few of the songs are originals, the others are fresh and inspired, and all the performances are memorable. Highlights are "Five Mile Mountain Road" and "Lovin" You Ain't Been Easy." Comes with the Ralph Stanley seal of approval.

Marbletown

Rounder

Coming off the IBMA’s Bluegrass Gospel Album of the Year (Wondrous Love), it is no surprise that Blue Highway’s brand new disc is one of the finest pieces of bluegrass to be released this year. As the sound of bluegrass becomes increasingly fractured, bands such as Blue Highway- ones who advocate a broad spectrum, contemporary sound while maintaining tangible bonds to Bill Monroe and 1946- are rare. Marbletown is a well-balanced, powerful portrait of one of bluegrass music’s most distinctive bands, highlighted by Mark Knopfler’s title track. Otherwise comprised almost entirely of original material, the band’s embarrassment of instrumental riches is compounded by its three incredibly diverse sounding vocalists. Outstanding! www.bluehighwayband.com

Troubled Times Mountain

Redbird

On what will surely be considered one of the top hardcore, traditional bluegrass discs of the year, if not the decade, New York City middle school teacher James Reams takes his interpretation of classic sounds to a new, and significant, level. Few bluegrass bands hail from NYC, fewer still fronted by native Kentuckians raised on the music of the hills and hollows of the bluegrass state.

James Reams & the Barnstormers play acoustic music with passion and energy that are palatable. With 27-strings and a distinctive harmonic flair, the Brooklyn foursome drop some country spark into their bluegrass, but the sound is one I’m pretty certain would be approved by Mr. Monroe. Five timeless originals, including the Hazel Dickens-like epic “The Hills of My County,” highlight a set rounded out by selections from the likes of Robbie Fulks (“Cold Statesville Ground”), Jim Eanes (“You Better Wake Up”), and Melvin Goins (“Head of the Holler.”) With Reams singing of the true-life blues of working and flawed men and women, most listeners will find imagery or situations to which to relate.

Troubled Times is an unusually strong bluegrass disc. Repeated listening reveals textures and nuances missed during initial spins, and one quickly finds appreciation for the talents of the Barnstormers, including Mickey Maguire (banjo,) Carl Hayano (bass,) and Mark Farrell (fiddle and mandolin).

A bonus DVD comprised of a full-length feature documentary about the Barnstormers’ life as bluegrass musicians is of great interest. Also included are excerpts and interviews from a ‘work in progress’ production entitled Pioneers of Bluegrass. If you only buy one CD by mail order this year, make it Troubled Times. www.jamesreams.com

Live at Mechanics Hall

Acoustic Disc

I've written it before, and I hope to write it again: thank goodness David Grisman could think of nothing more exciting as a teen than to haul his recording machine up and down the Eastern seaboard recording bluegrass jam sessions and concerts!

Captured live in November 1963, the Blue Grass Boys in this Worcester, MA set are Del flippin' McCoury, coming near the end of his brief tenure as Monroe's lead vocalist and guitar player, Bill Keith, the innovative 5-stringer who gave up his first name for Brad when the authoritarian Monroe decried there was to be but one 'Bill' in the band, and the ever reliable Joe Stuart on fiddle. Monroe's steady Bessie Lee Maudlin holds down the bottom.

For those of us who cannot get enough live Monroe, this 40-plus minute set is a welcome addition to the collection. Monroe shines on near every number with "Devil's Dream" being especially fiery on this evening, and "Rawhide" sounding flawless, despite Monroe's assertion otherwise. McCoury takes a couple leads, and while his voice had not yet fully acquired its unique qualities, its roots is showing! What is in evidence, on "Footprints in the Snow" for instance, is the Pennsylvainian's ability to carry a song.

The mix doesn't really do justice to Keith's playing, but Stuart is clearly heard throughout. The vocals are largely duos, with a couple trios and a quartet ("I Saw the Light.") A pair of numbers featuring Monroe's daughter Melissa are situated mid-set, and serve only to illustrate the foibles of nepotism; while not unlistenable, one doubts they will ever be heard as essential.

The heart of the show includes some of Monroe's most popular numbers- "Mule Skinner Blues," "Footprints," "Blue Moon of Kentucky," "Rawhide," and "John Henry." While not surpassing the more familiar studio renditions, these takes are all excellent live performances. Bea Lilly, of the Lilly Brothers who were featured in this 'package' show, comes to the stage to sing a duet of "What Would You Give in Exchange" with Mr. Monroe. Lilly accepts and meets the challenge of singing Charlie Monroe's parts.

With "Uncle Pen" and "Blue Ridge Mountain Blues" the historic (simply because it was recorded) show comes to a close much too soon. For a recording of some age, the audio quality is simply terrific, and even casual listeners should be able to appreciate the performance.

The 24-page booklet is loaded with information, as well as numerous photographs of the 1963 edition of the band. The liner notes by Neil Rosenberg are typically insightful and clearly communicated; they lack the smarmy, self-righteousness of some recent bluegrass writing, and instead read as comfortable reflections on a special time in bluegrass history. The folk boom was just beginning, but much of the scene had not yet discovered bluegrass music; Monroe was, as Rosenberg writes, "on the threshold of recognition that would transform him into an icon of American music."

Depending on tastes, this Acoustic Disc release is heartily and highly recommended. Buy one for yourself, give another as a gift. This is what bluegrass is supposed to sound like, says I!

Cedar Hill Stories

Hay Holler

Rhonda Vincent and the Rage

Ragin' Live

Rounder

Chatham County Line

Route 23

Yep Roc

James King

The Bluegrass Storyteller

Rounder

NewFound Road

Somewhere Between

Mountain Home

Various Artists

Daughters of American Bluegrass

CMH Records

John Reischman & the Jaybirds

The Road West

Corvus

Troubled Waters

Half Mile Down the Road

(Self-released)

Maple Creek

One Good Reason

(self-released)

Dry Branch Fire Squad

Live at the Newburyport Firehouse

Rounder

Larry Sparks

40

Rebel

The Foggy Hogtown Boys

Live At The Dominion

(Self-Released)

Various Artists

Rural Rhythm Gospel

Rural Rhythm

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