“Turn on a Dime” by Lonesome River Band

Lonesome River Band
Turn on a Dime
Mountain Home Music Company
4 stars (out of 5)

By Chris Shouse

If James Brown was the hardest working man in show business, LRB would have to be the hardest working band in the bluegrass business.  I can’t recall the number of times I’ve seen that green tour bus, sitting at festivals I’ve attended across the country.  With a tons of awards packed beside his Huber Banjos, bandleader Sammy Shelor continues to crank out albums and miles on the road. Turn on a Dime has this five-piece—with Brandon Rickman (guitar, lead and harmony vocals), Randy Jones (mandolin, lead and harmony vocals), Mike Hartgrove (fiddle), and Barry Reed (bass, harmony vocals) joining Shelor—bringing their signature smooth, steady rolling sound to the work of a wide variety of contemporary bluegrass songwriters.

The first single on the album “Her Love Won’t Turn on a Dime” sets the tone with a love song to that rarity in country music—a woman who is not hard on the wallet of the singer. Others unmistakably in the Shelor/LRB wheelhouse include “Gone and Set Me Free” (featuring sweet twin fiddling from Hartgrove), the bouncy “If the Moon Never Sees the Light of Day,” and the foot-tapping “Teardrop Express”

The brooding “Lila Mae” and “Don’t Shed No Tears,” an eerie tale of dying and going home to rest that relies on a creative lick twined by banjo, mandolin, and fiddle, bring a welcome shade of darkness to the LRB sound; “Holding to the Right Hand” also widens their sound, with Rickman grabbing the heartstrings on this ballad of confession and devotion.

These boys reach back for some traditonal and classic country sounds as well on “Bonnie Brown” (whose sound recalls Monroe’s “Molly and Tenbrooks”), the barroom bounce of “A Whole Lot of Nothin’,” and a stately version of Merle Haggard’s “Shelly’s Winter Love.”

A cleverly arranged “Cumberland Gap” ends the 13-track, 45-minute album with clear evidence of why Sammy Shelor was the 2011 Steve Martin Excellence in Banjo Award winner.

Though LRB’s current approach lacks a bit of the drive I’ve come to expect over 15 years of following them, both old fans and newcomers will enjoy where this fine band is now.

“If You Only Knew: The Best of Larry Rice” by Larry Rice

Larry Rice
If You Only Knew: The Best of Larry Rice
Rebel Records
5 stars (out of 5)

By John H. Duncan

Larry Rice was an understated and brilliant singer, songwriter, and mandolin player who never really achieved the recognition he deserved while living, partly because of the long shadow cast by his brother Tony Rice . Larry’s virtuosity is prominent on If You Only Knew: The Best of Larry Rice. This collection gives listeners incredible insight into his laid back vocal style, distinct mandolin picking, and his choice of material. This album collects work from his albums Hurricanes and Daydreams, Time Machine, Artesia, Notions and Novelties, and Clouds Over Carolina—a body of work spanning 20 years.

In the early 1970s, Rice was an integral part of JD Crowe’s Kentucky Mountain Boys, as well as Crowe’s New South. During his time with Crowe, he was part of two very distinct vocal configurations and he brought different material to the group from the West Coast like “Devil in Disguise”, “Why Do You Do Me Like You Do?”, and “You Can Have Her.”

On this anthology, there are tremendous renditions of straight-ahead bluegrass classics like “Used to Be,” “Take my Ring from your Finger,” and “Four Wheel Drive.” These songs put Larry up front singing lead and playing fiery mandolin licks. “Cuckoo’s Nest” is an extremely intimate cut with Larry and his brother Tony; it is essentially a jam in their living room with just guitar and mandolin. The material presented here is actually quite diverse. “Pretty Polly” is given a modal treatment featuring Larry on a lower lead vocal than traditionally done on this song. The use of a low-tuned clawhammer banjo really emphasizes how different this arrangement is.

“Hurricane Elena” and “Plastic People Town” are incredibly sensitive songs—delivered in ’70s singer-songwriter style—about natural disaster and the shallow nature of huge cities and how lost love feels in such a place.

Stop reading this review. Go purchase this classic album. It showcases Larry Rice at his absolute best as a singer, instrumentalist and performer. Every true fan of incredible acoustic music needs this record.

“Songs from My Mother’s Hand” by Mac Wiseman

Mac Wiseman
Songs from My Mother’s Hand
Wrinkled Records
4½ stars (out of 5)

By Donald Teplyske

For those born after 1960, Mac Wiseman is little more than a name occasionally encountered when reading the history of popular country music.

Wiseman hasn’t recorded for a major label since 1973, and hasn’t made a country Top 40 chart appearance since a novelty song (“Johnny’s Cash and Charley’s Pride”) in 1969. Even prior to that, he didn’t have the chart presence of many of his contemporaries. Why then does Mac Wiseman remain significant as we move into 2015?

In 1993, Wiseman was inducted as part of the third class of the International Bluegrass Music Association’s Hall of Fame (then called the Hall of Honor) alongside Jim & Jesse McReynolds—ahead of luminaries including the Osborne Brothers, Jimmy Martin, and the Country Gentlemen. “The Voice with a Heart,” certainly one of bluegrass and country music’s most emotive and sentimental singers, Wiseman joined first the Foggy Mountain Boys and then Bill Monroe’s Blue Grass Boys.

Wiseman’s signature song, “Jimmy Brown, the Newsboy,” has been recorded by scores, but it was Wiseman who made it a Top 5 number in 1959. He participated in the folk revival of the 1960s, and has released more albums than can reasonably be counted, including a spectacular set with Del McCoury and Doc Watson in 1998.

On the business side, Wiseman co-founded the Country Music Association, worked in A&R for Dot Records, and has remained a fiercely independent artist within the confines of the country and bluegrass worlds over the past several decades. Nearing his 90th birthday, the Virginia native has most recently been elected to the Country Music Hall of Fame, and is said to have the longest running recording career in history.

Songs From My Mother’s Hand is a truly remarkable album. Not only are the performances enjoyable and heartfelt, but the album’s foundation stretches back some 80-plus years. Within the Wiseman family home, Mac’s mother Ruth would transcribe songs heard on the family’s Victrola radio, collecting them in a series of composition booklets that helped the youngster learn the popular songs of the day. Preserved through his long career, Wiseman hauled the notebooks to Nashville (apparently in a green plastic bag) and used these old transcriptions as the basis for the songs recorded for this album: truly then, these are songs from his mother’s hand.

According to album co-producer Peter Cooper, Wiseman recorded the vocals for this new collection in a single session. Wiseman’s voice remains rich and mellow, although there is no shortage of hints that he isn’t as vocally flexible as he may once have been. No matter such limitations when the execution of these timeless songs is so obviously masterful; Wiseman knows these now classic folk songs by heart, having sung them both as a child and throughout his life. Not every lyric matches the most frequently documented rendition, but such quibbles are inconsequential.

Despite, or perhaps because of, the presence of Nashville instrumental and vocal A-listers, co-producers Thomm Jutz and Cooper have ensured that Wiseman’s singing be the focal point of the recording. Justin Moses (fiddle and vocals), Seirra Hull (mandolin and vocals), Mark Fain (bass), and Jimmy Capps (guitar, reso), along with folks like Alisa Jones Wall (Grandpa Jones’ daughter, hammered dulcimer), Jelly Roll Johnson (harmonica), Cooper (vocals), and Jutz (guitar and vocals) create an instrumental and vocal canvas that is brightened and highlighted by Wiseman’s warm timbre. The effect is that one has been invited into Wiseman’s home to listen to the man, perhaps seated at his mother’s kitchen table, sing these songs within a jam conducted amongst great friends.

The disc package is also top-notch. Created by Latocki Team Creative and Backstage Design, and with excellent  liner notes by Cooper and photos from Wiseman’s family collection, it is a beautifully composed offering, worthy of attention when awards for such are considered.

Each song offers something special, with the less frequently encountered songs notable. “Old Rattler,” a timeless song about an old coon dog, is infused with energy from the harmony chorus; Wiseman’s voice reveals his personable chuckle during the final verse. The album’s saddest song, “Answer to Weeping Willow,” is as grim as the more familiar “Bury Me Beneath the Weeping Willow,” while the pure pitiful “Eastbound Train” pulls in as a tight second.

These songs, including “Will There Be Any Stars In My Crown,” “Blue Ridge Mountain Home,” and “Little Redwood Casket” have great meaning to Wiseman, and he communicates their importance in every vocal nuance. That songs composed and performed eighty, a hundred, and several hundreds of years ago remain engrained within our musical vocabulary is a testament to the density of their message, the value of their stories.

That they sound fresh and relevant today is a measure of Mac Wiseman’s talents as a great musical communicator.

“The Legendary J. E. Mainer” by J. E. Mainer with Red Smiley & the Blue Grass Cut-Ups


J. E. Mainer with Red Smiley & the Blue Grass Cutups

The Legendary J. E. Mainer
Rural Rhythm Records

3½ stars (out of 5)

By Larry Stephens

Mainer was 70 years old by the time he made this album, released in 1968. He had been on the national music scene for more than four decades and was a well-known personality, playing “gospel, bluegrass, comedy, love ballads, wild mountain fiddle breakdowns and traditional folk and country blues.” Mainer and Smiley were both North Carolina natives. Mainer died June 12, 1972, just six months before Smiley passed.

The pairing of Mainer and Smiley was likely one of convenience and marketing aptitude. Though some gave Mainer’s music a bluegrass label, what you’ll hear is more old-time or roots music. It’s not likely to be of interest to people only interested in the music of bluegrass, but those who want to know the history of the music will be drawn to it. Bluegrass wasn’t invented from some vacuum by Bill Monroe; it was a refinement of music that was played for more than a hundred years in the mountains and frontier settlements. Looking down the list of cuts you won’t find many that are played on the bluegrass stages today. “Arkansas Traveler” is familiar as a fiddle tune, but Mainer does it as a comedy routine, as it was done in vaudeville. It was also the Arkansas state song (with lyrics written by a committee) at one time. “Shady Grove” has been recorded over 100 times by such diverse artists as Patty Loveless, Hot Rize, Taj Mahal and, of course, Doc Watson. Mainer’s version is a good listen, featuring a juice harp —something you don’t hear on a recording every day. Mainer does “Home Sweet Home” with a harmonica and many of us will remember “Shortnin’ Bread,” though you may not know it was composed by James Whitcomb Riley.

This CD, while a studio recording, is more like the recording of a live show. Songs may start with a dialogue between Mainer and someone in the band, like Gene Burris on “Shortnin’ Bread.” The cuts aren’t arrangements, there’s no intricate interweaving of parts. The music starts, showcases Mainer, and it ends. The quality of the music is generally good, though some of the fiddle playing (probably Mainer rather than Tater Tate) gives an understanding of “sawing” on the strings. The enjoyment of music is in the ear of the beholder (consider the very basic sound of the Tennessee Two) and people enjoyed the comedy as much as the music. Other groups employed these simple, vaudevillian comedy routines (Reno & Smiley, the Stanley Brothers’ “Model T” routine) though you don’t see them much today.

Several of the numbers are borrowed from other performers who, in turn, adapted them from old songs. “Devilish Mary” was a favorite of the Skillet Lickers and “Papa’s Billy Goat” is associated with Fiddlin’ John Carson. One reason why this CD is important is you’re not going to find many modern recordings of these links to the past, songs like “I Had An Old Grey Mare,” “Old Blind Horse” or “Eleven Cents Cotton.”

If you’re interested in old-time music, in music history, or searching for hidden gems to arrange to your liking, this CD should be in your collection.

“Red Smiley and the Blue Grass Cut-Ups: Volume One and Volume Two” by Red Smiley and the Blue Grass Cut-Ups

Red Smiley and the Blue Grass Cut-Ups
Red Smiley and the Bluegrass Cut-Ups: Volume One and Volume Two
Rural Rhythm Records

4 stars (out of 5)

By Larry Stephens

“Bluegrass” is indefinable because it’s a notion in your mind. Some will insist it must be something Bill Monroe would have played. Others prefer the Old Crow Medicine Show or newgrass pioneers like Sam Bush (who does a fine job on traditional numbers, too). Some will say it must have a banjo to be bluegrass, or it needs that “high, lonesome” sound. It can’t have drums, some say, while others scoff amplified instruments. Most of us take a middle-of-the-road approach and simply say, “I know it when I hear it,” which, of course, does nothing to quell the arguments.

In general, though, the core music is comprised of some combination of banjo, flattop guitar (preferably a Martin), mandolin, fiddle (violins are for highbrow music), resophonic guitar and upright bass. A common compromise is the bass because of its bulk. Bands substitute an acoustic flattop bass, a “stick” bass or a “Fender” bass. Mr. Monroe once had an accordion, though that’s as rare as hen’s teeth. Variations of core instruments may include a viola (in the case of Nancy Blake, a cello) or a mandola (IIIrd Tyme Out’s Wayne Benson) and sometimes a snare drum, steel guitar or piano.

It’s the music more than the songs that make it bluegrass. As we look at the songs included in these two CDs, songs that are cross-genre will be noted but I believe few will argue their inclusion in bluegrass. Harmony singing, sometimes two part, sometimes three part and, more rarely, four part, is very important and the harmony on these tracks is beautiful.

Bill Monroe is heralded as the father of bluegrass and Jimmy Martin declared himself to be king of bluegrass, but there is a sizable list of people who were there in the early years and helped shape the music. Arthur “Red” Smiley appeared on the scene at the age of twenty-one. In 1949 he joined Don Reno, fresh from a stint as a Blue Grass Boy, in the Tennessee Buddies of Tommy Magness then Reno & Smiley went on their own in 1951. They were a popular pairing and you can still see parts of their TV shows on Ronnie Reno’s show on RFD-TV (featuring a very young Ronnie Reno on mandolin and Mac Magaha – later Porter Wagoner’s fiddle player). Reno & Smiley made great music but disagreement over their touring schedule lead to a split in late 1964.

Smiley and his band, the Blue Grass Cut-Ups, made three recordings for Rural Rhythm before his TV show was cancelled in 1968. Smiley briefly retired, then joined Reno and Bill Harrell in 1970. Red Smiley died January, 2, 1972 at the age of 47.

These two separately released Red Smiley CDs (how could you buy just one?) have a slew of titles most fans will recognize. “Summertime Is Past and Gone,” a Monroe number, features excellent bluegrass harmony. “Roll On Buddy” has been recorded by countless bands through the years. Billy Edwards has a hot hand on the banjo on the recordings. Tater Tate is playing fiddle and tears into a short (1:09) “Big Sandy.” and a hot “Black Eyed Susan.” “Wreck of the Old No. 9″ isn’t as widely played as “Wreck of the Old 97″ but is still recognized by older fans. “Take This Hammer” is associated by many with the folk music movement but was made popular long before that by Huddie “Leadbelly” Leadbetter. “900 Miles” is another old song that is often associated with it’s Folk renditions. “Darling Corey” was made popular by the Monroe Brothers but it’s origin dates well before then and no one knows for sure where it came from.

Volume One’s gospel numbers are still popular today. “Working On A Building” and “Somebody Touched Me” are heard most often but “Something Got Hold of Me” is still heard in bluegrass circles. “Tupelo County Jail” may be most familiar to many as a Webb Pierce or Mel Tillis recording. (Coincidentally, there is an insight into the music business connected to this song. The video linked above includes an introduction to the song by Webb Pierce. He attributes the song to Mel Tillis. On another site you’ll see the song attributed to Tillis and Pierce and the image of the 45 r.p.m. record clearly shows both names. It’s likely Pierce followed a fairly common practice of recording the song only if he got partial writer’s credit.)

Other musicians on these recordings include John Palmer playing bass and Gene Burris/Burrows playing mandolin (which you hear little of) and guitar. Smiley plays guitar, also.

“In The Pines” has crossed genres several times and is heard on a regular basis at bluegrass shows today. “Silver Bells,” a number I’ve heard on guitar, is played here with a banjo-fiddle lead. The last time I heard “Little Birdie” was a couple of years ago on Dr. Ralph Stanley’s show. “Oh! Monah” has an interesting pedigree as a pop song being played in bluegrass. Listening to the intro to Ted Weem’s version, you have to wonder how this could ever translate to bluegrass. The lyrics give a clue but still it’s evidence of the importance of the music making the bluegrass.

“Shady Grove” has been around about forever. Smiley’s version is played at breakneck speed and my preference is Doc Watson’s version. This is one of those songs that has countless versions floating around. “Fallen Leaf,” on the other hand, was a new one for me. A 1952 recording from the John Quincy World Folklore Collection is another example of a genre-jumping number rearranged for bluegrass.

Take a break, let your ears rest, then drop in Volume Two.

The Cut-Ups included several gospel numbers that you’ll hear over and over at bluegrass shows. “Drifting Too Far From the Shore,” “Take Me In the Lifeboat,” “I’ll Be No Stranger There,” (and you’ll hear some mandolin on this one) and “A Beautiful Life” are all familiar songs. Some may remember “The Pale Horse and His Rider,” a song co-written by Walter Bailes and recorded by Hank Williams and Roy Acuff. Williams also recorded “Thirty Pieces of Silver,” a popular song a few decades ago. Listen to the melody and you’ll be reminded of another popular song. “The Man of Galilee” is less known, at least today. “Living the Right Life Now” was recorded around 1961 by Molly O’Day with more of an old-time sound.

Another popular theme in bluegrass is death, sometimes with violence. The death of a child is recorded with “Budded On Earth To Bloom In Heaven.” For all you eclectic music collectors, this is the version recorded by Martha Carson, not Freaky Chakra’s version. Jimmie Davis co-wrote a song Bill Monroe recorded and is remembered by fans, “Plant Some Flowers By My Grave.” This is another example of very good lead singing by Smiley along with good harmony from Tate and Burris/Burrows. These CDs have value for the fan who has been around some years, good singing and good picking, but should not be disregarded by newer fans of bluegrass. Smiley wasn’t breaking new ground with these recordings but they were a part of marking the trail for traditional bluegrass.

It’s a rare festival that doesn’t feature at least one rendition of “Katy Hill.” “Banks of the Ohio,” a popular murder ballad has been recorded by such diverse talents as Dolly Parton, Joan Baez, Olivia Newton-John and a host of others, while Willie kills Molly in “Little Glass of Wine.” None of them have anything on Smiley’s version. “I’m Just Here To Get My Baby Out of Jail,” “It’s Raining Here This Morning” and “Prisoner’s Dream” all touch on another familar theme, jail time.

“Little Darling Pal of Man,” a Carter Family number, is presented here as an instrumental and, for this pair of CDs, the rare track that should probably have been left off. It features a couple of bass breaks played enthusiastically but with questionable intonation. After the break it seems like the band hasn’t figured out what to do with the banjo jumping in while the rest must be having a cup of coffee for a measure or so. Oh, well, they weren’t perfect. “Prosperity Special,” a 1:02 quickie is a better number that traces back to Bob Wills. Rounding out the CD are “Baby Girl” and the lament “Ain’t Nobondy Gonna Miss Me When I’m Gone.”

Red Smiley was a first-generation pioneer in bluegrass, coming on the scene a handful of years after Bill Monroe. It would be a shame if he disappears from the collective bluegrass psyche as the years march by and older fans are no longer here to jostle our memories. Taken one by one this collection doesn’t offer the very best of his work—the cuts are too abbreviated, there’s too much of a feeling that Uncle Jim O’Neal was looking for songs to memorialize rather than putting together an instrument for Smiley and his band. But Smiley did a good job with what he was given and this is a rare opportunity to buy a collection of his music. If you love traditional bluegrass you should be listening to these CDs.

 

 

 

 

 

 

 

 

 

 

“Tried and True” by Annie Lou

Annie Lou
Tried and True
No label
4 stars (out of 5)

By Donald Teplyske

Annie Lou’s Grandma’s Rules for Drinking was absolutely magical, a delightful blend of ‘big-tent’ music that brought together bluegrass and old-time string band music into a lighthearted and thoroughly impressive package.

On her third outing as Annie Lou, Anne Louise Genest has changed things up a little. The favorable acoustic elements remain, but bluegrass fervor is less apparent. With Andrew Collins again producing, Tried and True possesses more gloss than its predecessor and feels less spontaneous.

What remains consistent is the brightness brought to songs such as “Envy Won’t Leave Me Be” (which kicks off with, “I wish I could drink like you/to the bottom of the bottle all the way through…”), “Haunted,” and “In the Country.” Annie Lou’s openness, writing of longing and comfort like few others manage, builds bridges between her experiences (real and imagined) and those of the listener. She isn’t navel gazing; she is identifying commonalities through lyric and strumming.

Chris Coole (banjo), Max Heineman (bass and vocals), and Chris Quinn (a bit more banjo) from Toronto’s Foggy Hogtown Boys are among those who join their compatriot Collins (mandolin and guitar) in augmenting this production. Especially interesting is the depth bowed bass contributions of Joe Phillips bring to a couple of tracks including the lead-off title track.

One would be remiss to neglect a mention of the albums’ significant cover, Hazel Dickens’ monumental “It’s Hard to Tell the Singer From the Song.” It is on this track that Burke Carroll’s pedal steel efforts are really appreciated, lending additional wistfulness. While Annie Lou has been favorably compared to Dickens, listening to Tried and True Alice Gerrard’s enduring ability to remain contemporary and relevant while exploring ancient sounds comes foremost to mind.

Over the course of three albums, Vancouver Island’s Annie Lou has carved out a wee niche in the acoustiblue world that binds folk, bluegrass, and old-time. By continuing to redefine the music she explores in imaginative ways, Annie Lou reveals herself to be a musician, singer, and writer of considerable means.

“South Holston” by Jerry Castle

Jerry Castle
South Holston
My World Records

3 stars (out of 5)

By Larry Stephens

A funny thing happened as I listened to this CD. I closed my eyes and imagined I was looking at the face of a cliff and embedded in it was a talking head. That’s the sound of a lot of this CD. It sounds like the compression was dialed up, the volume was dialed up, the sound hits you like a hurricane and someplace in the middle of all that is Castle singing. A good track to get the full effect of this is “Write My Own Ending.” The first few bars sound like a lot of country songs: you can hear the different instruments and they support the vocals. At :40 the background players step on their volume pedals and start to overwhelm the singer.

Castle’s enunciation takes getting used to. He has a habit of making adding syllables to words, and not in the way you expect some southerners to. For instance (in “Write My Own Ending”):

“… for this one feels wro-ong”

“… grow my hair like a hippie-uh”

It takes some getting used to. “Write My Own Ending” expresses a desire many of us have. We want to control our destiny, be in charge of our life. “Life Gets Better” has a nice intro, a strumming guitar and a lonely steel that plays a thread through the song. It then builds to his in-your-face volume. The song has a nice sentiment. Castle wrote or co-wrote all the tracks so the feeling of a personal point of view is probably just that. “Need You” is a nice song and has a little more space in the music than other tracks. You get more of a feeling of individual musicians instead of a wall of sound.

The central theme is about being yourself in a world that tries to mold you into some norm and the struggle to just survive. “Drown” is about a broken love affair. I think “Maybe” is, too, from what I can hear in the auditory assault of the instruments.

I wasn’t at all familiar with Castle before this one landed in my mailbox, but the album’s news release quotes some opinions that prove there are people that get into his music. It’s interesting that Castle feels this is country music (“… this record covers a wide spectrum of country music …”), while I mainly hear references to pop and rock from other people. I get that my kind of country is now second-shelf on radio and sales, but if you measure the distance between Stonewall Jackson and Kenny Chesney, then add that number to Florida Georgia Line you may get in the vicinity of Jerry Castle. It’s not bad music or writing, just different and no part of country that I can imagine. Go to iTunes and sample it.