“Curve and Shake” by Walter Salas-Humara

Walter Salas-Humara
Curve and Shake
Sonic Pyramid
4 stars (out of 5)

By Donald Teplyske

I came to the Silos late. The first new album of theirs I heard was likely When the Telephone Rings a decade ago, but I’ve filled in some of the gaps since with their self-titled album of 1990 being a favorite.

I’m certainly no expert on the music Walter Salas-Humara has made—either as the stable core of the Silos, under his own name, or his many other projects—but I do appreciate his creations when encountered.

My first impression of Curve and Shake was that it sounds like an album Lou Reed could have made had he been an entirely different person and artist. I’m pretty sure I know what that means, but have no idea if it connects with anyone else.

Curve and Shake is a rock album, certainly a roots-rock disc. Very different from the personal desperation—and heavy guitars—heard within Florizona, within this set of Salas-Humara’s songs I hear echoes of Warren Zevon’s, Alejandro Escovedo’s, and especially John Mellencamp’s work, which aren’t bad places to land, but not where I normally go when listening to The Silos.

And a reminder, I suppose, that this isn’t the Silos.

The grim reality of the title track is buoyed by heartening percussion, and the simplicity of “I Love That Girl” is reflective of the song’s hopeful, but far too innocent, protagonist. “Uncomplicated” is heavier sonically and spiritually while “Hoping For A Comeback,” again awash with Latin percussion, is optimistic.

In general, positivity rules Curve and Shake. Lyrically and musically, Salas-Humara is seemingly is a good place, and while this album isn’t going to push aside the Silos and Come On Like The Fast Lane, it does encourage me to continue expanding my knowledge of what Walter Salas-Humara offers.

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“Mac Wiseman Sings Old Time Country Favorites” by Mac Wiseman

Mac Wiseman
Mac Wiseman Sings Old Time Country Favorites
Rural Rhythm Records

4 stars (out of 5)

By Larry Stephens

1966. I remember it well because that’s the year I graduated from high school and started college. I was playing in the Starlighters, a local country band that was pretty danged good. Mac Wiseman wasn’t on my horizon. Neither was bluegrass. Most of the people in the band couldn’t stand it, especially the banjo.

But Wiseman, “The Voice With a Heart,” was a well established and popular performer in both the bluegrass and country worlds as well as dipping into folk music. Still active today, albeit with a lighter schedule, you’re most likely to catch him on RFD-TV’s Country Family Reunion, though he recently performed on the Grand Ole Opry. He started out as the bass player for Molly O’Day, joined Flatt & Scruggs then Bill Monroe and later struck out as a solo artist. His voice and the way he styles a song has made him one of my favorite arists. Many others love his work, too. He was inducted into the IBMA Hall of Honor in 1993 and will become a member of the CMA Hall of Fame within a few days.

In 1966 he made a mono LP (Sings Old Time Country Favorites [RRMW-158]) for Uncle Jim O’Neal, owner of Rural Rhythm, the only recording he ever did for them. It was reissued in 1973 (Singing Country Favorites [RRMW-258]) with an electric guitar and bass plus drums overdubbed to make a stereo effect. It was reissued again in 1997 (20 Old Time Country Favorites [RHYCD-258]) and that one is still available. The original recording featured Wiseman on guitar, Rudy Thacker on guitar, and Peggy Peterson playing Dobro. This CD was re-mastered from the original tapes with “Wildwood Flower” as a bonus track. It was recorded with the other tracks but not released. There’s not much information available on Peterson but she does appear in the credits of several records of that era (including works by J. E. Mainer and Jim Eanes) and is mentioned in Pretty Good for a Girl: Women in Bluegrass by Murphy Henry. Thacker was probably the man associated with the Stringbusters in the Cleveland area (the LP was recorded in Ohio, possibly Akron).

Several of these songs have become closely associated with Wiseman through the years. “I’ll Be All Smiles Tonight” traces back to the Carter Family, though he cuts out the middle two verses on this record. This song is a good example of a curious choice made by singers, more so in the first half of bluegrass history than the second but not unheard of today. A man will sing a song clearly intended for a woman without changing the words.

And when the dance is over and all have gone to rest

I’ll think of him, dear Mother, the one that I love best

He once did love me dearly and ne’er from me would part

He sought not to deceive me, false friends have changed his heart

It’s not as if the words are set in stone. Wiseman’s version varies slightly from the lyrics attributed to the Carter Family, but there seems to be a reluctance to change from first person to third person. This can be disconcerting when you first hear it.

Many of the songs on the album feel abrupt, shortened. The Vince Gill/Asleep At The Wheel version of “Corrina, Corrina” runs three minutes. The CD’s version is 1:36. This is a familiar song dating back to 1928 and recorded in several genre by a long list of artists. My guess is the choice was made to make most songs short so more songs could be included. An LP could hold twenty to twenty-two minutes of playing time on each side and each song has some delay until the next one. Math tells the story. It’s an understandable decision but still a trade-off.

Another “Wiseman” song is “I Saw Your Face In The Moon.” It dates back to 1937 and Governor Jimmie Davis. “Midnight Special” bears Wiseman’s melodic touch but many may associate it with CCR or Johnny Rivers. It probably dates (in print) to Howard Odum in 1905 and has been recorded by artists as varied as Lead Belly, The Kingston Trio and ABBA. Wiseman may have the gentlest touch of all.

On the gospel side are a very short “When They Ring Those Golden Bells” and “Just Over In Gloryland.” “The Black Sheep” has a message of forgiveness that isn’t gospel but is still an uplifting message of right in the end. Other familiar numbers are “Wreck of the Old ’97,” “The Georgia Mail” and “More Pretty Girls Than One.” “Rovin’ Gambler'” runs only 1:51 but there are so many variations of this song (as with most of these) that it’s not necessarily shortened and, in this case, you feel like he finished the song instead of just cutting it off. Listen to “Little Mohee” and you’ll hear where “On Top of Old Smokey” borrowed its melody.

“Mary of the Wild Moor” has a long and interesting history and many artists have recorded it, including Sara Evans in 2001 who heard it on a Dolly Parton recording. “Little Blossom” is a beautiful but grim number, the story of a little girl killed accidentally by her drunken father. Then there are the simple songs that don’t say much of anything but were still popular at one time. “How Many Biscuits Can You Eat” was recorded by artists like Split Lip Rayfield, Grandpa Jones and the Coon Creek Girls while “Turkey In The Straw” dates back longer than anyone can remember. “Sourwood Mountain” is another song with unknown beginnings, part lament, part nonsense. Parts of it were used by the Grateful Dead in Sugar Magnolia.

This is a welcome half-century look back at a recording by one of the greats of bluegrass and country music. It’s a reminder of the history of the music and might influence some listeners to look back for one of their next cuts when they record.

“The Old Country Church” by Mike Scott & Friends

Mike Scott & Friends
The Old Country Church
Rural Rhythm Records
4 stars (out of 5)

By Larry Stephens

Really, who needs to hear “Will the Circle Be Unbroken” for the thousandth time? That may be your first reaction to track list on this CD, but don’t pass judgment too quickly.

Bluegrass fans love to hear the old songs, whether repeated by the artists who made them famous or by others with their own take. One way to do a project like this is to surround yourself with Grade-A musicians, men (in this case) who know and love the songs as much as you do, get in the studio and let the music flow. Mike Scott is an excellent banjo player, sideman to Ronnie Reno for several years. Mix in Adam Steffey playing mandolin, Bryan Sutton and Tim Stafford on guitar, Rob Ickes on resophonic guitar, Ben Isaacs as timekeeper on the bass plus Aubrey Haynie’s fiddle and you expect nothing less than excellence.

You can listen to the comforting strains of “Pass Me Not,” “What a Friend We Have In Jesus” and “Precious Memories,” close your eyes and be transported back to the days you were growing up and hearing these in church and gatherings of friends and family. It’s difficult to hear “I Saw The Light,” “When the Saints Go Marching In,” “Will the Circle Be Unbroken” or “Swing Low, Sweet Chariot” without wanting to sing along, whether you’re certain of the lyrics or not. “The Old Country Church” has been a bluegrass favorite since there’s been bluegrass, and “I’ll Fly Away” joined that rank almost as soon as Albert Brumley penned it. And how many times have we sung “Victory In Jesus” in church?

They’re all there in this excellent instrumental CD by Mike Scott & Friends, along with “Where the Soul of Man Never Dies” and “Where the Roses Never Fade.” There are no surprises here, just the comfort of hearing beautiful renditions of old friends. The next time life’s not going your way, take a step back, drop this CD in the player, and refresh your soul.

“Rachel Burge & Blue Dawning” by Rachel Burge & Blue Dawning

Rachel Burge & Blue Dawning
Rachel Burge & Blue Dawning
Mountain Fever Records
4 stars (out of 5)

By Larry Stephens

What’s bluegrass without songs of death? Murder songs are woven into the culture and are evidence of how bluegrass remains tied to its roots—and most of us believe that’s a good thing. Maggie and Molly, “Sisters of the Mountain,” are twins living alone on the mountain all their lives and who fall in love with Joshua Taylor, a Blue Ridge mountain man. They catch Joshua in the arms of another woman and he disappears forever. I know places where that still might happen.

Rachel Burge nails the song and she and the band do it with drive. You won’t be confusing this with indie country, Americana, or any other genre. The arrangement grabs your attention, with Burge and Michele Birkby-Vance (fiddle) joined at the hip on their vocals.

Birkby-Vance wrote and sings “Homeplace in the Mountains,” a pure bluegrass number that’s yet another core of bluegrass: away from home and longing to go back. Burge adds “My Cold Heart,” a hard driving love song from a different angle. She’s a woman who rejects love because of her cold heart and she’s the one who’s leaving and wronging someone. Burge combined a college education with bluegrass, obtaining a certificate in bluegrass from Glenville State College. This allowed her to play with Mac Wiseman, Ronnie Reno, and others as part of that program. She’s not only an excellent bluegrass singer, she knows how to play her mandolin as well as anyone you’ll hear out on the circuit. “Please Stay Away” is a pretty love song in waltz time, asking a person she loves to please stay away. Love hurts and she tells us about it in a very pretty way.

Joining Burge and Birkby-Vance are Radford Vance (banjo, guitar, vocals), Lance Gainer (guitar, vocals) and Rick Westerman (bass, vocals). Radford Vance composed “Road Apples,” an excellent instrumental that showcases the excellent musicianship of each member of the band – except the bass player. For some reason they made the choice to keep him so low in the mix you have to work at hearing him. What comes through sounds good, though. Vance also gives us “Barefootin’,” recollections of a youth growing up in the country.

Burge reaches out to other composers, including Bill Carlisle and Tommy Cutrer, who wrote “I’ve Kissed You My Last Time,” a beautiful country ballad released by Kitty Wells back in 1955 and Doyle Lawson in 1995; Ronnie Bowman, co-writer of “I’ve Seen Enough of What’s Behind Me,” a song with a hook about not needing a rear-view mirror because the singer is only looking ahead in life; “April Snow” by Mark Brinkman, another song about broken love; and Rebecca Westerman’s “Living In The Light,” a gospel number that features the group’s excellent harmonies.

This is an excellent CD from a group that should make a lasting impression on bluegrass music.

“Standing Tall and Tough” by Crowe, Lawson & Williams and “Open Carefully, Message Inside” by Doyle Lawson & Quicksilver

Crowe, Lawson & Williams
Standing Tall and Tough
Mountain Home Music Company
4 stars (out of 5)

Doyle Lawson & Quicksilver
Open Carefully, Message Inside
Mountain Home Music Company
4 stars (out of 5)

By Aaron Keith Harris

An 18-year-old Doyle Lawson joined Jimmy Martin and the Sunny Mountain Boys as the groups banjo player in 1963, not long after JD Crowe made himself a bluegrass legend in that same post. If at that time I would have told you that Lawson would end up (arguably) having a greater influence on the direction of bluegrass music than either the King or the Claw, you wouldn’t have bought it. But here we are 50 years later with two fine albums that help make that argument.

By Lawson’s count in the liner notes, Open Carefully is the 36th Quicksilver album in 35 years—an impressive achievement of excellence (for the most part, see here) and longevity even before you consider the lengthy roster of master musicians in that stretch whom Lawson has trained up and sent forth.

Eli Johnston (bass guitar) and Dustin Pyrtle (guitar) are up to the difficult task of sharing lead, duet, and trio vocal duties with Lawson, and I wouldn’t be surprised if their names were one day added to the list of storied Quicksilver vets. (However, I’m not familiar yet with either one, and just from the liner notes, I can’t be sure who’s who from track to track).

Jason Barie (fiddle), Joe Dean (banjo), and Josh Swift (Dobro, guitar, and, yes, percussion) create a hard instrumental bluegrass edge on “Climbing Upward,” “Will You Go?,” and the delightfully McCouryesque “It’s Done” and country-gospel backing on “He Made the Tree,” “O Far Country,” and the album-opening “Coming Soon,” which might be the track you’d pick from this project to demonstrate how Lawson can blend together bluegrass and Southern gospel, old and new.

But what I love most about DLQ are the quartet recordings—whether a cappella or with solo guitar— that owe as much to the likes of black groups like the Golden Gate Quartet as to white groups like the gospel quartets of Bill Monroe and Ralph Stanley. There are four great examples of that here: “Get on Board” (an old spiritual to which Lawson added a new final verse), “Lead Me to that Fountain” (with a perfectly understated bass vocal from Swift), “He’s In Control,” and the stunning nostalgia of “I Sailed Back.” Classic Quicksilver.

Standing Tall and Tough has Lawson back with Crowe and their fellow Martin alumnus Paul Williams for a second trio CD, and it’s as good as 2010’s Old Friends Get Together, with the more famous contributors content with creating a well-blended band sound that allows Williams’ grand voice to steal the show.

That disc was an all-gospel affair; this one isn’t. Lawson’s liner notes indicate that the trio wanted to do “a few songs that we hadn’t recorded during our time working with Jimmy Martin.”

There is a nucleus of Martin songs here: the Martin/Williams co-writes “My Walking Shoes,” “Little Angel in Heaven,” and “Pretending I Don’t Care,” as well as Williams’ peerless version of “Fraulein.”

Three Louvin Brothers songs—”Do You Live What You Preach?,” “Don’t Laugh,” and “Insured Beyond the Grave”—also get a masterful treatment, as do Bill Anderson’s “Once a Day” and the Jimmy Wakely/Johnny Bond “Those Gone and Left Me Blues.”

Williams stops the show with his version of “The Hills of Roane County”, his operatic tenor spinning out one of the strangest story songs in bluegrass prompting the chills up the spine just like Roy Orbison could on songs like “Leah” or “It’s Over.” (Has anyone suggested to Williams that he cut a record of Orbison covers?)

Lawson’s touch as producer is quite evident on Open Carefully, much less so on Standing Tall. But that’s what a great producer like Lawson does.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LRR’s picks for the 2014 International Bluegrass Music Awards

The 25th Annual International Bluegrass Music Awards show is Thursday, Oct. 2 in Raleigh.

Here are Aaron, Donald, and Larry’s picks from the final ballot IBMA voters were presented with. (Aaron is an IBMA voting member.)

One suggested change: If a someone has won a particular vocalist or instrumentalist award more than five times, why not make him ineligible for future awards in order to give others a chance? I don’t think Del McCoury, Adam Steffey, or Michael Cleveland would mind.—AKH

ENTERTAINER OF THE YEAR

Aaron and Larry’s pick:
Dailey & Vincent

Donald’s pick:
The Gibson Brothers

Other nominees:
Balsam Range
Blue Highway
The Del McCoury Band

VOCAL GROUP OF THE YEAR

Donald and Larry’s pick:
Balsam Range

Aaron’s pick:
Dailey & Vincent

Other nominees:
Blue Highway
The Gibson Brothers
Doyle Lawson & Quicksilver

INSTRUMENTAL GROUP OF THE YEAR

Aaron’s pick:
The Del McCoury Band

Donald’s pick:
Blue Highway

Larry’s pick:
The Boxcars

Other nominees:
Balsam Range
Frank Solivan & Dirty Kitchen

SONG OF THE YEAR

Aaron and Donald’s pick:
“Grandpa’s Way of Life” – The Spinney Brothers (artist), Mark ‘Brink’ Brinkman (writer)

Larry’s pick:
“You Took All The Ramblin’ Out of Me” – The Boxcars (artist), Jerry Hubbard (writer)

Other nominees:
“Dear Sister” – Claire Lynch (artist), Claire Lynch and Louisa Branscomb (writers)
“It’s Just a Road” – The Boxcars (artist), William Keith Garrett (writer)
“The Game” – Blue Highway (artist), Shawn Lane and Barry Bales (writers)

ALBUM OF THE YEAR

Aaron’s pick:
Hall of Fame Bluegrass – Junior Sisk and Joe Mullins (artist), Junior Sisk and Joe Mullins (producers), Rebel Records

Donald’s pick:
Streets of Baltimore – The Del McCoury Band (artist), Del McCoury (producer),  McCoury Music

Larry’s pick:
It’s Just A Road – The Boxcars (artist), The Boxcars (producer), Mountain Home LS

Other nominees:
Noam Pikelny Plays Kenny Baker Plays Bill Monroe – Noam Pikelny (artist) Gabe Witcher (producer), Compass Records
The Game – Blue Highway (artist), Blue Highway (producer), Rounder Records

GOSPEL RECORDED PERFORMANCE OF THE YEAR

Aaron’s pick:
“Won’t It Be Wonderful There” – Dailey & Vincent (artist), Brothers of the Highway (album), Mildred Styles Johnson (writer), Jamie Dailey and Darrin Vincent (producers), Rounder Records

Donald’s pick:
“Love Does” – Darin and Brooke Aldridge (artist), Flying (album), Jamie Johnson, Suzanne M. Johnson and Jenee Fleenor (writers), Darin and Brooke Aldridge (producers), Organic Record

Larry’s pick:

“The Day We Learn to Fly” – Volume Five (artist), The Day We Learn To Fly (album), Stacy Richardson and Leroy Drumm (writers), Volume Five (producers), Mountain Fever LS

Other nominees:
“Wait A Little Longer Please Jesus” – Donna Ulisse (artist), I Am a Child of God (album), Hazel Marie Houser (writer), Bryan Sutton and Donna Ulisse (producers), Hadley Music Group
“When Sorrows Encompass Me Around” – The Boxcars (artist), It’s Just A Road (album), Paul Edgar Johnson (writer), The Boxcars (producer), Mountain Home

INSTRUMENTAL RECORDED PERFORMANCE OF THE YEAR

Aaron’s pick:
“Johnny Don’t Get Drunk” – Adam Steffey (artist), New Primitive (album),  Public Domain, Adam Steffey (producer), Organic

Donald’s pick:
“Thank God I’m A Country Boy”- Special Consensus with Buddy Spicher, Michael Cleveland and Alison Brown (artists), Country Boy: A Bluegrass Tribute to John Denver (album), John Martin Sommers (wrtier), Alison Brown (producer), Compass Records

Larry’s pick:
“Five Miles to Milan” – The Grascals (artist), When I Get My Pay (album), Danny Roberts (writer), The Grascals (producer), Mountain Home

Other nominees:
“Graveyard Fields” – Steep Canyon Rangers (artist), Tell The Ones I Love (album), Mike Guggino (writer), Larry Campbell (producer), Rounder Records
“Skillet Head Derailed” – The Boxcars (artist), It’s Just a Road (album), Ron Stewart (writer), The Boxcars (producer), Mountain Home

RECORDED EVENT OF THE YEAR

Aaron’s pick:
“Keepin’ It Between the Lines (Old School)” – Peter Rowan with Bobby Osborne, Jesse McReynolds, Ronnie McCoury and Del McCoury (artists), Alison Brown (producer), Compass Records

Donald’s pick:
“Martha White, Lester & Earl” – Terry Baucom with Marty Raybon & Buddy Melton (artists), Terry and Cindy Baucom (producers), John Boy and Billy Records

Larry’s pick:
“Wild Mountain Honey” – Junior Sisk and Joe Mullins (artists), Junior Sisk and Joe Mullins (producers) Rebel Records

Other nominees:
“American Pickers”- The Grascals with Dierks Bentley (artists), The Grascals (producer), Mountain Home
“Wild Montana Skies” – Special Consensus with Claire Lynch & Rob Ickes (artists), Alison Brown (producer), Compass Records

EMERGING ARTIST OF THE YEAR

Aaron and Larry’s pick:
Flatt Lonesome

Donald’s pick:
Town Mountain

Other nominees:
Detour
The Spinney Brothers
Volume Five

MALE VOCALIST OF THE YEAR

Aaron and Donald’s pick:
Del McCoury

Larry’s pick:

Buddy Melton

Other nominees:

Tim O’Brien
Frank Solivan
Dan Tyminski

FEMALE VOCALIST OF THE YEAR

Aaron’s pick:
Claire Lynch

Donald’s pick:
Dale Ann Bradley

Larry’s pick:
Rhonda Vincent

Other nominees:
Alison Krauss
Amanda Smith

INSTRUMENTAL PERFORMERS OF THE YEAR

BANJO

Aaron and Donald’s pick:
Noam Pikelny

Larry’s pick:
Ron Stewart

Other nominees:

Jens Kruger
Mike Munford
Sammy Shelor

BASS

Aaron and Larry’s pick:
Mike Bub

Donald’s pick:
Barry Bales

Other nominees:
Missy Raines
Mark Schatz
Darrin Vincent

FIDDLE

Aaron and Donald’s pick:
Michael Cleveland

Larry’s pick:

Ron Stewart

Other nominees:

Jason Carter
Stuart Duncan
Bobby Hicks

DOBRO

Aaron’s pick:

Rob Ickes

Donald and Larry’s pick:

Phil Leadbetter

Other nominees:

Jerry Douglas
Andy Hall
Randy Kohrs

GUITAR

Aaron, Donald, and Larry’s pick:
James Alan Shelton

Other nominees:
Tony Rice
Kenny Smith
Tim Stafford
Bryan Sutton

MANDOLIN

Aaron and Larry’s pick:
Adam Steffey

Donald’s pick:
Frank Solivan

Other nominees:
Sam Bush
Sierra Hull
Chris Thile

“Heartland” by the Downtown Mountain Boys

Downtown Mountain Boys
Heartland
self-released
4 stars (out of 5)

If you like bluegrass the way Bill Monroe did it, you’ll get excited as soon as you hear the first notes of this CD, “Riding On the L&N”. This is a Bluegrass Cardinals’ number from the ’80’s and the Boys do it well. Staying with the railroad theme, they offer a Seldom Scene number from four decades ago, “Raised By The Railroad Line” and a tune many have heard from the Lonesome River Band, “Like a Train Needs a Track” with guitarist Don Share singing lead. Speaking of Mr. Monroe, included is one of his compositions, “Old Ebeneezer Scrooge.” This is a great instrumental that should be played more often. Paul Elliott plays fiddle and does an excellent job. He’s performed with a number of well-known acts (Alison Brown, John Reischman) and is also a composer. The mandolin is the centerpiece of this number, of course, and Tom Moran turns in a masterful performance.

Animals have cropped up in bluegrass through the years (“Molly & Tenbrooks,” “Echo Mountain” and, of course, “Old Shep”) and now there’s another song that should join that group. Bassist Terry Enyeart wrote and sings lead on “Shannon’s Last Ride,” a story about having to “put old Shannon down.” The old horse has been around thirty years and it’s just time. The number was inspired by Enyeart using his backhoe to bury a neighbor’s favorite horse. A song based on a lifetime of stories is “Timber.” This number has an old-timey sound and was written by Enyeart based on stories told him by his logger camp fiddler grandpa and grandmother, a cook in the camp. It tells a story you might expect, including the man who was killed by a falling limb then covered by a gunny sack while the work went on. Elliott composed the fiddle music and also composed the title song. It’s a bit unusual (on a mixed vocal-instrumental CD) to name the CD after an instrumental, but this is a beautiful number.

Banjoist Dave Keenan sings lead on a “Up and Down the Mountain,” another number traced to the Bluegrass Cardinals but performed by a long list of bands through the years. There are no bad songs on this CD but my favorite is “If It Hadn’t Been For Love.” Played in a minor chord, it’s another murder song but it’s a pretty one. It’s been recorded by such diverse artists as the Steeldrivers (band members Chris Stapleton and Michael Henderson composed the song) and Adele. This goes on my “gotta learn it” list.

The band is from the northwest and their schedule shows their touring limited to that area. If you’re lucky enough to see them in person, grab the opportunity. In the meantime, you’ll enjoy this CD if you like traditional bluegrass.