Cut to the Chase
Live Oak Records
4 stars (out of 5)
By Donald Teplyske
Kathy Kallick is a versatile recording artist. Folk, bluegrass, Americana, pioneering trailblazer…labels have never meant too much to Kallick, have never limited her creativity.
“She was a nice Jewish girl living near Chicago,” is not the way most bluegrass biographies could begin, but those are the words Murphy Hicks Henry elected to use when beginning her chapter on Kallick within Pretty Good for a Girl: Women in Bluegrass. A California resident for forty years, she and like minded compatriots founded the Good Ol’ Persons in 1974 and Kallick has been at the center of the dynamic West Coast bluegrass movement. The Good Ol’ Persons produced five albums including the essential live retrospective Good n’ Live.
She has recorded songs of her musical roots (My Mother’s Voice), albums for children (including the inspired Use a Napkin, Not Your Mom), an album of duets with Laurie Lewis (Together), and straight ahead bluegrass (Call Me A Taxi). Since the late ’90s, the Kathy Kallick Band has produced several albums of jaw-dropping, unfettered bluegrass starting with Walkin’ In My Shoes through to and including 2012’s Time. In my opinion, their Warmer Kind of Blue is all kinds of marvelous. (See Kallick’s discography from her website here.)
Alternately and frequently simultaneously, she has crafted albums bridging the unsettled ground between folk and country, releasing tremendously well-executed albums including Reason & Rhyme and My Mother’s Voice.
Having written a collection of new songs that will come to stand with her finest, with Cut to the Chase (which I mistakenly read as ‘Cut to the Case’ for about three weeks) Kallick provides ample demonstration that she continues to hone her art. I argue that my reading error was an honest one, as Kallick’s assertive, clean lead guitar playing is as central to the album as her remarkable voice and erudite lyrics.
The album’s lead track insightfully crafts a roadmap for Cut to the Chase, as the protagonist comes to the realization that “Tryin’ So Hard to Get to You” is a long journey toward heartache and frustration. While there may be benefits to giving oneself over to the power of another, it’s best to determine one’s own course, to “keep your feet on the ground,” to borrow from another song. The catchy “Same Ol’ Song” has a similar theme, but different mood. The influence of Hazel Dickens on these songs and “When” may only be apparent from my perspective.
Whether inhabiting others in “Persephone’s Dream” and “Franco’s Spain” (with beautiful mandolin lighting the way) and exploring the psyche and worlds of her creations, or describing the life shaped by a boy’s fascination with a train’s whistle—”Not As Lonesome As Me”—Kallick brings forth honesty and experience to fashion tactile personalities.
“Ellie,” a song that dates back to the Good Ol’ Persons, is given new life closing this set. Apparently long unavailable (the original version is on I Can’t Stand to Ramble, which I don’t own), hearing the song for the first time I fully understand why Murphy Henry highlights the song as “the timeless classic” from the GOP’s second album.
Determined to be a good girl in her mother’s eyes, Annie makes some choices that might be disappointing. “As the baby grows, she learned to tell a lie, that’s easier to do to keep Mama satisfied” is just one of the foundational thoughts captured in the beautifully written song, with fiddle—presumably from Kallick band member Annie Staninec—tempering the ‘true life’ harshness of the lyrics with the acceptance of mournful reflection.
While Kallick wrote the majority of these songs by herself, three are co-written with Clive Gregson, long ago of new wave band Any Trouble and collaborations with Christine Collister, and himself a notable folk presence for the past few decades. “Get the hell away from me,” the affirming refrain within the album’s forceful title track, certainly cuts to the chase, while their “The Time Traveler’s Wife” requires listeners to immerse themselves in the song’s rich lyrical path.
Kallick’s hand-picked core band is a gathering of trusted colleagues. In addition to Staninec, members of the Kathy Kallick Band— Greg Booth (resonator guitar), Tom Bekeny (mandolin), and Cary Black (bass)—serve as the instrumental foundation for the album, while Good Ol’ Persons John Reischman (mandolin) and Sally Van Meter (Weissenborn lap slide), Bill Evans (banjo), and others also appear. The album is cohesive, with a consistency in sound that unifies the assembled story songs.
Cut To the Chase is several steps away from the music of the Kathy Kallick Band, and allows Kallick to continue to develop her own style of acoustic Americana. It is a beautifully constructed album of personal and poetic music that should appeal to all who have appreciated Kallick’s music and insights.