“Ghosts in the Field” by Shantell Ogden

Shantell Ogden
Ghosts in the Field
Hip Farm Chic Records
4 stars (out of 5)

By Aaron Keith Harris

Good singer-songwriters have it rough in the country market these days. If you’re too good, then your material won’t get much attention from programmers or from more popular acts looking for material to record. If you dumb down your lyrics and use the same chords melodies, chords, and arrangements that those popular acts are beating to death, then why bother?

On her seven-song Ghosts in the Field, Shantell Ogden offers up a nice range of first-rate songs with a bright sound that will stand out in anyone’s current country or Americana playlist. While “Just a Little” captures the fleeting excitement of falling in love, and “Who Comes First” charts love turning to disillusionment, “Be My Rain” is about the hope of trying to avoid either extreme, written with a maturity that had me thinking of Jackson Browne.

Both the title track and “Blossom in the Dust” richly evoke the real, deep connection with the rural past and small town life that many of us share, putting to shame the big Nashville labels who’ve created the current trend of hicksploitation to convert that nostalgia into cash before the whole mess goes under.

Shantell Ogden is an artist making music the right way.

 

“A Wanderer I’ll Stay” by Pharis and Jason Romero

Pharis and Jason Romero
A Wanderer I’ll Stay
Lula Records
4½ stars (out of 5)

By Donald Teplyske

One of the most respected old-time duos currently recording, Pharis and Jason Romero create acoustic music in a vein not dissimilar to Gillian Welch and David Rawlings.

Without drifting toward mimicry of that more renowned duo, this couple from Horsefly, British Columbia likewise captures within their finely crafted songs the richness that exists within seemingly uncomplicated songs and arrangements. A Wanderer I’ll Stay is their third album as a duo and their fifth together, and the result is a mature artistic vision, one that encompasses a range of original inspiration into a cohesive, intriguing set.

Jason Romero is a wonderfully interesting guitarist and banjo player. I’m not able to expound about the creative tunings he uses or the intricacies of his fingering technique because such is well outside my capabilities. I can attest that everything I hear within this album is flat-out faultless. Within “Backstep Indi,” Romero coaxes the gourd banjo to travel from southern traditions to East Indian experimentation, while the instrumental backing for “The Dying Soldier” is as beautifully mournful as anything I’ve recently heard.

Pharis Romero is an expressive, generous vocalist and impressive songwriter. Three of these songs are credited to her alone, while she shares songwriting credit with her husband on three others. She has a strong voice that more than holds its own within the aural environment created by the duo and their co-producer David Travers-Smith. Like Welch, she asks universal questions (“Why do girls go steady, when their hearts are not inclined”) and makes stark declarations (“Your father he’s a merchant and a thief”) that immediately establishes perspective while sketching stories and characters that engage listeners’ imaginations. When she sings, “There’s no time, honey there’s no time,” you accept her declaration.

Like Rawlings and Welch, the Romeros have the ability to create new songs that sound generations old. The forlorn drifter of “Ballad of Old Bill” could have ridden old Dan in a Civil War-era song, while “Poor Boy” is seemingly crafted from remnants of Child Ballads.

Their original material is very strong, but so are their interpretations of songs from the days of 78s; the Romeros playfully and yet still reverently reinvent familiar sounds. Jason’s mournful “Goodbye Old Paint” is from the Lomax tradition, while their influences  for interpreting “Cocaine Blues” and “The Dying Soldier” go back to the 1920s.

This time featuring Josh Rabie (fiddle), John Hurd (bass), Marc Jenkins (pedal steel), and Brent Morton (drums) on select tracks, A Wanderer I’ll Stay has a full sound although not significantly different from their previous Long Gone Out West Blues; the same intimacy is present and certainly their attention to detail has not wavered. As with that release, the packaging is beautifully executed with all practical considerations accounted.

This is a stunning acoustic folk recording.

“The Best Kept Secret” by Chris Cuddy

Cris Cuddy
The Best Kept Secret
self-released

4½ stars (out of 5)

By Larry Stephens

If there’s one thing everyone should agree upon, Cris Cuddy’s CD isn’t boring. It’s indie music, a mixture of blues, rockabilly, and a little Mexican and calypso and other styles you may not describe. He switches tempos and styles and keeps it all interesting from start to finish. Cuddy, who hails from Canada, composed or co-composed (with Tom McCreight) all the songs, sings lead and plays harmonica and acoustic guitar. His voice tends to be on the soft side and the overall feel is laid-back and easy, a bit of Jimmy Buffet aura. The lyrics can be quirky: “I was hangin’ around a drive-through daiquiri bar, had my eye on a guy I think was thinkin’ about stealin’ my car” and “I was runnin’ the Elvis chapel in the all night church.” “Drive-Thru Daiquiri Bar” is a story about someone who is lost in his passage through life, told with a bit of a calypso beat. It’s not sad so much as reflective and it’s easy to picture a crowd kicked back with a drink at hand, nodding and saying to each other, “that’s the way it is, man.”

“IBMA Blues,” strangely named because nothing about this CD is reminiscent of the IBMA other than a couple of the musicians, is a story about love lost due to his passion for his music. A couple of familiar names are on this one. Jim Hurst (guitar) and Emory Lester (mandolin and fiddle) appear on several tracks and play in their usual brilliant styles. “She Reminded Me of You” is a lost love song with a Mexicali sound, complete with an accordion and quavering steel guitar. Unless your musical tastes are stuck in one genre it’s hard to not like this track. Next he channels Marty Robbins with “The Big Chill.” He doesn’t sound a bit like Robbins but this is a song Robbins would have sung if he was still around, a song about a gunfighter in the old west. Going with rockabilly, he offers “The Best Kept Secret,” a story about a secret love affair, except for the neighbor who ends up with the girl the other guy has been keeping hidden.

If you like blues, listen to “The Luck of the Draw.” Roly Platt plays some great harmonica and Keith Glass tears it up on guitar. This is track I could listen to all day long. Another bluesy number, with brushes on the drums and a good bass line, is “Amy,” a tribute to the late Amy Winehouse.

The musicians are all top drawer and the arrangements are good. This isn’t a CD that grabs you, it’s not a slap in the face to get your attention. The music sneaks up on you and you find yourself immersed in it, stopping whatever you were doing to listen. This one goes into my short stack that I play over and over.

CrisBestkeptsecretcoverlrg

 

“Adkins & Loudermilk” by Adkins & Loudermilk

Adkins & Loudermilk
Adkins & Loudermilk
Mountain Fever Records

4½ stars (out of 5)

By Larry Stephens

If you use names like Monroe, Scruggs, Flatt, and Martin to define bluegrass, you can throw in Adkins and Loudermilk. There has always been a lot of room in the traditional bluegrass world to encompass differences in style and lyrics. The Stanley Brothers differ from Monroe who differs from the McReynolds Brothers. Edgar Loudermilk (IIIrd Tyme Out, Rhonda Vincent, Marty Raybon) and Dave Adkins (Republik Steel) are carving out their own niche.

This CD features a number of tracks composed by Adkins and/or Loudermilk but the one that may catch your attention on the first listen is an old public domain number that’s been recorded by innumerable artists in a variety of genre. I don’t recall hearing “Swing Low, Sweet Chariot” done like an easy country ballad before, but I like it. A number that could lose some bluegrassers in the audience is Hoyt Axton’s “[Never Been To] Spain,” but it does give the musicians and singers a chance to vamp. Adkins is a good singer with a voice that gets more coarse as he drives up the force of his vocal, reminding me of Junior Sisk. Loudermilk is a ballad singer with a lot of range, easily getting down into the bass register. Loudermilk plays bass, while Glen Crain plays Dobro and sings harmony. Zack Autry plays mandolin and his father Jeff Autry plays guitar. Chris Wade plays banjo for the band. These are excellent musicians and the numbers are tastefully arranged and recorded. They stretch their legs on “Spain” but, overall, this picking will stand the test of bluegrass audiences.

“Where Do You Go When You Dream” touches on one of music’s favorite topics, love. It’s a question that has crossed the minds of many lovers: is she dreaming about me or…? “Blacksmoke George” (composed by Adkins and former bandmate, Wayne Benson) is darker, the story of a hunt for a badman that doesn’t end up well for the hunter. Love and murder, staples of bluegrass though they aren’t intertwined in this number. “Mournful Soul” is another dark song that for some reason calls “Long Black Veil” to my mind, even though they sound nothing alike. It’s another chance for some fine trading of the lead break between the guitar and banjo. Switching styles, “Georgia Mountain Man” (Loudermilk, Russell Moore and Wayne Benson) is all about growing up in a country home, learning sound values for your life, while “Cut The Rope” (Adkins) is an uptempo song that has an outlook that’s been echoed in spirit by many. Love ties two people together so, “if you’re going to walk away and leave me behind,” cut the rope. “Turn Off The Love” has a similar message but done as a heartbreaking ballad that would make a great country song. The band turns up the heat and tempo with “Backside of Losing,” a story about bad choices in life.

Good music, good bluegrass that will be welcomed on most any bluegrass stage. Mix in some fun with “Spain” and you have a good CD. Adkins and Loudermilk are on a road that should lead to continued success.

“Ionia” by Lindsay Lou & the Flatbellys

Lindsay Lou & the Flatbellys
Ionia
Self-released
4 stars (out of 5)

By Donald Teplyske

Named for the Michigan city in which it was recorded, Lindsay Lou & the Flatbellys’ second album—to go along with a couple of EPs—is one of the unexpected musical delights of this spring.

Americana at its core, their sound is not easily categorized beyond that wide-ranging identifier. They use acoustic bluegrass instruments, but no one who understands the term would refer to them as a bluegrass band; their music is too breezy and playful, lacking the drive most associate with ‘grass. One can hear folk roots throughout the album, especially on “The River Jordan” and “Old Song,” and it certainly isn’t country. There is even a bit of jazz flavor in places (“Hot Hands”) and it swings a bit when encountering Thelma and Louise-type circumstances in Todd Grebe’s (Bearfoot, Cold Country) “Criminal Style.”

Americana it is, then.

Ionia possesses a warm, groovy sparseness that allows the group to project a clear and bright set of music that reminds one of Edie Brickell fronting a really strong acoustic band. It is gorgeous.

While Lindsay Lou sings the majority of the leads, and does so quite brilliantly, this is much more than a singer-centered endeavor. Joshua Rilko (all manner of stringed instruments, but primarily mandolin) and bassist (some of it bowed, and more including Peruvian cajón) PJ George sing most of the harmony on these songs, providing each with vocal depth that nicely balances Lindsay Lou’s leads. Mark Lavengood plays Dobro on the majority of the songs, while also singing “Sometimes,” an earthy number from an outside source, Ben Fidler; less tasteful are his circa 1981 basketball shorts.

While other bands may achieve a rich, close sound in professional studio environments, LL&F chose to record in the home of friends, playing and singing in a tight circle. While obviously rehearsed and professional, the resulting music feels spontaneous and genuine. Built around Lindsay Lou’s voice, equally important to the LL&F sound are Rilko’s mandolin and Lavengood’s steel.

“Everything Changed” is one of the group’s stronger songs: it builds to a controlled instrumental crescendo that is dynamic. “House Together” is another vibe-rich song of interest. Every bit as engaging are the album’s final tracks, “Ionia” and “Smooth and Groovy.” The title track is a moody instrumental while the closing song is a vocal showcase for Lindsay Lou. Recently relocated to Nashville, Lindsay Lou & the Flatbellys appear to have taken the ‘next step’ in their career.

Recommended if you like Crooked Still, the Show Ponies, and/or the Infamous Stringdusters.

“Wherever I Wander” by the Snyder Family Band

Snyder Family Band
Wherever I Wander
Mountain Home Records

4 stars (out of 5)

By Larry Stephens

HOT! That will be your first reaction to the music of the Snyder Family Band. Siblings Samantha (16) and Zeb (19) are joined by their father, Bud Snyder, on this unusual CD. The younger Snyders were mentioned in the review of Adam Steffey’s New Primitive CD, but now they’re blazing their own trail.

They have their feet in bluegrass—Zeb Snyder was nominated for the IBMA Momentum Award in 2013 and 2014. “Highway Call” is a great bluesy number that can fit into a bluegrass or country music set. Samantha Snyder, playing violin since age three, plays fiddle breaks on this track that are as good as any fiddle music you’ll ever hear with her brother adding great guitar as well as singing lead. That’s how most tracks are set up, Samantha Snyder playing fiddle and sometimes mandolin, Zeb Snyder playing guitar and mandolin with their father playing the upright bass. They make a lot of good music for a trio.

That said, there are three potential—but minor—reservations about their music. Any time you use multi-tracking to allow one person to play multiple intruments (or sing multiple parts) it can sound great on the CD, but what do you do for live performances? Bands usually figure this out, but it is a question mark. They chose to have no vocal harmonies. They are excellent singers and this isn’t a bad choice, but harmony singing fills out the vocals. The other reservation is trying to figure out the market for their music. If you dump blues, classic rock, classic country, bluegrass and western swing into a pot and wash out all dividing lines, that’s where this CD goes. If your tastes are as broad as their ambitions, there will be a great match between you and their music.

I enjoy all those genres so I find nothing but enjoyment with their music. “New River Rapids” is an interplay between the mandolin and fiddle with an imaginative melody. “Trick Shot” is another fun instrumental and “Nantucket Sleigh Ride” glides along at breakneck speed while “The Peach Truck” is six and a half minutes of vamp that showcases their great talents.

“Wherever I Wander” is an interesting melody and lyrics that are modern gospel. You won’t hear many gospel numbers like this one and may lose the lyrics just listening to their instrumental work. “Swamp Music” is a number that you can imagine Jerry Reed singing, co-composed by Ronnie Van Zant and Edward C. King of Lynyrd Skynyrd fame and released in 1974 on their Second Helping LP. The Snyder’s version doesn’t have the hard edge of Lynyrd Skynyrd, but nothing is lost with the change. Zeb Snyder entertains you with some glass bottleneck slide guitar while Amanada Snyder rocks on her fiddle. Another Samantha Snyder number is “Hittin’ the Highway,” a mixture of blues, rock and country with some great instrumental breaks.

I don’t think there’s a section of bins in the Ernest Tubb Record Shop for this CD. They need to make a new one labeled “RRGM” and stick it there. You’re missing an experience if you don’t listen to this one.

“Devil in the Seat” by the Foghorn Stringband

The Foghorn Stringband
Devil in the Seat
Self-released
4 stars (out of 5)

By Donald Teplyske

More than a decade ago, several youthful, old-time stringband-influenced outfits started to garner considerable attention on the fringes of what was shortly to become known as Americana. The Crooked Jades were one of the first and best that I encountered, while others including Old Crow Medicine Show and the Foghorn Stringband followed in their wake.

OCMS and Foghorn Stringband both released independent projects, signed with Vancouver’s Nettwerk Records, and unrelentingly worked the road in support of well-received, major-label debut albums.

One of those albums contained “Wagon Wheel.” The other didn’t.

While OCMS have become a commercial force with their rock ‘n’ roll meets folk and old-time blend of infectious party music, the Portland-based Foghorn Stringband have performed with great success to much lesser acclaim. They have continued to record music, releasing five or six albums (depending on which volumes are counted as band projects) that have more consistently held to the foundational elements of old-time stringband music.

Devil in the Seat, recorded in the atmospheric, traditional backwoods environs of Kauai, is another outstanding testament of what can happen when like-minded individuals are given opportunity to coalesce into a formidable performing unit. Their publicity sheet makes the adroit claim that Foghorn Stringband are less revivalists than they are curators, and such can be heard throughout this fabulous new release.

The group has always been known for balancing vibrant, lively music with down-tempo, bluesy takes, and there is no shortage of this dichotomy within the 16 songs and tunes included herein. The album kicks off with “Stillhouse,” learned from Virginia’s Matokie Slaughter and heads toward more familiar ground with “Mining Camp Blues” (performed as a show-stopping duet between Reeb Willms and Nadine Landry) and “Columbus Stockade Blues.”

A pair of tunes from Clyde Davenport are included, “Lost Gal” and “Chicken Reel,” while more contemporary selections include Garry Harrison’s “Jailbreak” and Tim Foss’s “Leland’s Waltz.”

My copy didn’t identify individual singers, but I suspect it is group co-founder and fiddler “Sammy” Lind who so excellently murders and buries “Pretty Polly” with the other remaining original member mandolinist Caleb Klauder handling most of the other male leads. The two have a natural style of instrumental interaction, with Klauder’s style being remarkable for the way he just lays back and drops in his notes. The banjo playing (never enough) is handled by Lind.

Hank Snow’s honky-tonk hit “90 Miles an Hour” is sped up just a tad and again demonstrates the group’s flexibility, as does their patient and true interpretation of the troubling “Henry Lee.” Foghorn’s male-female balance allows the group to explore the full range of old-time sounds, a significant positive of which they take advantage.

Whether you have been with Foghorn Stringband since before Weiser Sunrise or just caught up to the group with the excellent Outshine the Sun of a couple years ago, Devil in the Seat should give many hours of old-time pleasure.