Dailey & Vincent
The Gospel Side of Dailey & Vincent
4 stars (out of 5)
By Aaron Keith Harris
My earliest musical memories are from the Pentecostal church I was raised in, and still belong to, and from the Southern Gospel singings that we attended when groups like the Cathedrals, the Paynes, the Kingsmen and others would come through the Dayton area, usually to Memorial Hall.
I remember the atmosphere being pretty powerful, with the crowds and performers being thrilled to be in on something so expressive, intimate, and fun. I’m guessing if my more sophisticated and jaded musical self could travel back there, I might have some other reactions, but that’s what stayed with me.
It was a similar feeling present in my initial reactions to bluegrass music. Along with the virtuosity of the players and the camaraderie within bands, there was a true sense of connection to the audience that went beyong the ticket sale. At one of my first bluegrass shows, a bill at that same Memorial Hall headlined by the supergroup Longview and including the Seldom Scene and Ralph Stanley, I was shocked when I asked a little guy in rumpled jeans for a CD at Ralph Stanley’s record table and realized it was Ralph himself selling my the disc, slitting the plastic with his pocketknife and signing it for me.
Dailey & Vincent have, more than any other group I’ve seen, embodied that bond between the musician and the music lover. Their shows have increasingly featured non-bluegrass elements like keyboards, percussion and Southern Gospel arrangements along with what they do best to create a product that anyone with the slightest inclination toward what they’re doing can instantly become immersed in.
What better to extend that brand than another disc with Cracker Barrel to follow their perfect Statler Brothers tribute? Jamie and Darrin, along with band regulars and studio ringers (Bryan Sutton, Andy Leftwich, Scott Vestal, Stuart Duncan, etc.) serve up twelve tracks in forty minutes that fly past in what seems like half the time, though there are a couple of more contemporary slow sentimental arrangements that had me tuning out or skipping ahead.
“Living in the Kingdom of God,” “Cast Aside,” and “Cross Over to the Other Side of Jordan” will keep the bluegrass faithful happy with the Doyle Lawson-like balance between great singing and picking. Buck Owens’ “Eternal Vacation,” Willie Nelson’s “Family Bible,” and Carl Perkins’ “Daddy Sang Bass” appeal to the country stalwarts, and piano rave-ups “Noah Found Grace in the Eyes of the Lord” and “The Fourth Man in the Fire” lay the mine the gospel foundation and feature the Brobdingnagian bass voice of Christian Davis.