“Dear Jean: Artists Celebrate Jean Ritchie” by Various Artists

Various Artists
Dear Jean: Artists Celebrate Jean Ritchie
Compass Records
5 stars (out of 5)

By Donald Teplyske

Spending time with the music of Jean Ritchie quickly sends one down a rabbit hole of interpretations, variations, fragments, and re-imaginings of Scotch-Irish-English story songs. It can be fascinating to trace a tendril of one ballad to the chorus of another and the thread of a re-worded version of a third.
It can also be exhausting.

Rather more pleasant is allowing Ritchie’s unvarnished voice sweep one away to a world of Unquiet Graves, Maids Freed from Gallows, Rosewood Caskets, House Carpenters, and Orphaned Children. Whether singing a cappella or accompanied by her own dulcimer, by Doc Watson’s guitar and banjo, or by folks like Eric Weissberg (who nicely accompanies Judy Collins here on “One I Love”) and Marshall Brickman, Ritchie takes listeners to places that—within the most popular contemporary Americana performers—only the likes of Iris Dement does today.

As did Hazel Dickens and Ola Belle Reed through their original songs, Dement and (as I learned living with this collection) dozens of unheralded mountain and hill singers, Ritchie transports the listener to a long ago place that only tangentially bears relevance to contemporary times.

Or, it would appear upon first listen.

Because woven into Ritchie’s ballads of courtship, disaster, crime, wonder, sentimentality, and loss are cautionary tales, tragic ballads, and ‘sparking’ songs that connect with motivated modern listeners by the very power of their antiquity and timelessness.

What is sometimes (frequently, perhaps) neglected when considering Jean Ritchie is that standing alongside the “ballads from her Appalachian family tradition,” to borrow a phrase, have been dozens of amazing, timeless creations—among them “The L & N Doesn’t Stop Here Anymore,” “West Virginia Mine Disaster,” “Blue Diamond Mines,” “Thousand Mile Blues,” and “Black Waters”—that are original compositions inspired by the realities of Ritchie’s experiences.

Dear Jean: Artists Celebrate Jean Ritchie is a two-disc, 37-track labour of love from producers Mick Lane, Charlie Pilzer, and Dan Schatz augmented by performers who not only have been influenced by and admire Ritchie, but many who have more than passing connection to the Kentuckian who was awarded a National Endowment For The Arts National Heritage Fellowship in 2002.

The set contains a blend of traditional and contemporary ‘folk’ approaches to the material, with a decided emphasis on presenting performers who may not be widely known within the broadly defined folk and Americana fields. Providing further balance, the producers have elected to feature many of Ritchie’s lesser known compositions alongside the many traditional songs for which she is well regarded.

Some who have contributed to this collection are familiar and contribute the expected exceptional performances. Robin and Linda Williams with John Jennings (“The L & N Doesn’t Stop Here Anymore”) Peggy Seeger (“Young Man Who Wouldn’t Raise Corn,”) and John McCutcheon (“The Bluebird Song”) are among the most well-known of the performers.

Select songs have a contemporary presentation. The always formidable and impressive Janis Ian, supported here by Andrea Zonn, Alison Brown, and Todd Phillips, serves up a memorable version of “Mornings Come, Maria’s Gone.” An all-star lineup of John McCutcheon, Tim O’Brien, Stuart Duncan, Bryn Davies, Suzy Bogguss, and Kathy Mattea perform “Black Waters” capturing the emotional, physical, and geographical impact that brutally evasive and injurious coal mining practices have had on the southern United States.

Other performances are more reminiscent of the stark sounds and performances Ritchie grew up immersed within, such as Sally Rogers and Howie Bursen’s “Lord Bateman,” the Starry Mountain Singers “I’ve Got a Mother,” and Archie Fisher’s “Jackaro.”

While a handful of the performers have considerable name recognition, the overwhelming majority are less familiar—at least to me-—but their contributions provide substantive flesh to the beautiful skeleton that would have existed had only ‘stars’ been included. Traditional singers like Magpie (“Farewell to the Mountains,”) the incredible Molly Andrews (“Now Is the Cool of the Day”) and Elizabeth LePrelle (“Fair Nottamun Town,”) Riki Schneyer (“Blue Diamond Mines,”) and Kathy Reid-Naiman (“Pretty Betty Martin”) continue the art Ritchie has inspired for the past fifty and more years, and kick no small amount of major vocal arse in doing so.

Sam Amidom (“The Cuckoo,”) fiddler Matt Brown (“Golden Ring Around the Susan Girl,”) and Rachael Davis (“One More Mile,”) and others including LePrelle, bridge the generations between themselves, Ritchie (who is now 92) and the original inspiration for these songs.

Tying things together, Kathy Mattea performs “Jubilee” with Ritchie’s sons Jon and Peter Pickow, who also appear with Kenny Kosek on “Last Old Trains A-Leavin’.” Suzie Glaze, who once appeared as Ritchie in a stage production, performs a telling version of “West Virginia Mine Disaster.” The Ritchie Nieces contribute “Twilight A-Stealing,” a song Ritchie writes that her family always sang together at the close of their evening porch sing-a-longs.

Ritchie herself appears twice. A delightful 1985 rendition of “Who Killed Cock Robin” (with contemporary Oscar Brand) is light and companionable. A final ’round’ of “The Peace Round” from 1992, augmented with the voices of many who appear throughout this wide-ranging tribute, closes the album on more pensive notes.

For those so inclined, Schneyer’s “Black Diamond Mines” isn’t the only song that includes a taste of bluegrass, but it is the one that most strongly embraces the sound. Cathy Fink and Marcy Marxer’s “My Dear Companion” flirts along the edges.

Like Ritchie, Dale Ann Bradley is from Berea, Kentucky, and the five-time IBMA Female Vocalist of the Year can’t help but have some ‘grass in her approach. Here, Bradley teams with Alison Brown and the Bankester vocalists for a take on “Go Dig My Grave,” and this take should find favour with those who appreciate Bradley’s approach to traditional material. (I have another paragraph or three about this fragment of “The Butcher’s Boy” available, but I had best leave that treatise to scholars.)

One can be forgiven for believing that Jean Ritchie only sang traditional folk music. ‘Folk’ is now a near meaningless catch-all, but descriptive musical terms once meant something. Ritchie herself once quite ardently distinguished her traditional mountain, folk, and old-time music from modern sounds that emanated from southern cities. In her liner notes to the 1962 album Precious Memories, Ritchie wrote:

But, my friends will say, is this folk music? Perhaps not, by the strictest scholarly definition. Some have known authors, some have not changed essentially from their original forms; I would call them valuable and interesting period pieces, the natural outgrowth of the older folk music of the region… But these songs are more than that; they are brimming over with the simple basic emotions that touch us all.

Ritchie was writing about her set containing “new hillbilly” and “city” songs like “The Great Speckled Bird,” “The Wreck on the Highway,” and “Bury Me Beneath the Willow,” songs that would—through their very pervasiveness, and no matter who originated them—become standards of country and folk repertoires, as ‘folk’ as any song that had traveled from Europe.

Strange then that some fifty years later she might have just as accurately been writing about this uniformly outstanding tribute.

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“Great Big World” by Tony Trischka

Tony Trischka
Great Big World
Rounder Records
5 stars (out of 5)

By Aaron Keith Harris

If you’re not sure of Tony Trischka’s banjo cred, take it from Bela Fleck:

Tony was the right guy at the right time to take advantage of all the new lessons that were being taught right and left by Jimi Hendrix, the Beatles, the Beach Boys, Miles Davis and so many more…and apply them to banjo music. This enabled him to propel the fine art of banjo playing three giant steps forward.

That’s from Fleck’s liner notes to Great Big World, aptly titled when one considers that the diverse and beautiful sounds Trischka makes on this 13-track disc are possible only in the musical world that he did so much to create.

A core unit of guitarist/vocalist Michael Daves, mando picker Mike Compton, fiddler Mike Barnett, and bassist Skip Ward join Trischka for trad-grass arrangements of Woody Guthrie’s “Do Re Mi,” “I Wonder Where You Are Tonight,” and—with Chris Eldridge on guitar and lead vocals—”Say Goodbye.” Daves and Aoife O’Donovan trade vocals on the latter part of “Belated Wedding Hoedown/Angelina Baker,” with the Trischka-penned instrumental first half setting up Stephen Foster’s familiar melody perfectly.

Trischka’s instrumental compositions have always been both intricate and tuneful, and that’s what he delivers with “The Danny Thomas,” “Promontory Point” (with Steve Martin on banjo), the solo front parlor picking of “Swag Bag Rag,” and the seven-minute “Single String Medley,” which features a unique tune for each of the banjo’s five strings.

“Great Big World/Purple Trees of Colorado” is another seven-minute frolic, with Noam Pikelny picking second banjo and longtime Trischka pal Andy Statman pitching in with both mandolin and clarinet.

Trischka is also a gifted lyricist whose melodies work just as well sung as played, and it doesn’t hurt to have voices like harpist Maeve Gilchrist (who also adds her harp to “Ocracoke Lullaby,” which indeed does sound like a gentle night on the coast of its eponymous island), the ethereal Abigail Washburn (“Lost,” arranged with violin, viola, cello, flute and clarinet), and Catherine Russell, who’s backed by Dylan sideman Larry Campbell on pedal steel and latter-day Allman Brothers Band bassist Oteil Burbidge for the ecumenical gospel rave-up “Joy.”

All that’s enough to make this one of the finest records released this year—and to serve as proof that Trischka can do well whatever he sets his hand to—but the coup de maître is “Wild Bill Hickok,” a miniature Western with laconic vocals from Ramblin’ Jack Elliot and narration by John Goodman.

“Let it Go” by the Infamous Stringdusters

The Infamous Stringdusters
Let it Go
High Country Recordings
5 stars (out of 5)

By Aaron Keith Harris

The bass player usually is mentioned last, but Travis Book’s work is what makes this fifth studio album by the Infamous Stringdusters one of the very best acoustic albums that I’ve heard in a while.

So many bands attempting to transcend their nominal bluegrass origins go bashing away as hard and fast as they can, leaving drive and direction out of it altogether. The most readily apparent sign of this is usually bassist who can’t quite keep up. Then you have players like Book (as well as the great Mike Bub) who are the lead dogs, giving those closer to the sled more room to work.

The 11-track, 40-minute Let it Go is the work of a band that seems to play, sing, and even think, as one. So much so that the CD packaging doesn’t identify the band members, much less give a track by track accounting of who’s playing and singing what, as is customary on many bluegrass releases, especially the ones with hired studio aces.

The complete sound is what the Stringdusters are concerned with and the sound they make here has the drive of a band like Blue Highway—with brighter, more melodic textures—backed by musicianship about as good as the Punch Brothers without the pretentious wankery.

The instrumental breaks are short and collaborative, with the Dobro or fiddle often running in one channel the same quick zigs and zags as the banjo in the opposite. The guitar adds depth to Book’s bass, and occasionally steps out for some crisp and rich flatpicked solos.

And all of this is done in support of some great singing and songwriting—I’ve been listening constantly to “I’ll Get Away,” “Where the River Runs Cold,” and “Summercamp” the last couple of weeks, whether through speakers, headphones, or just my mind.

“Summercamp” is a three-and-a-half-minute masterpiece that sounds like what you would get if you locked Ron Sexsmith and the mid-1970s Seldom Scene in the studio and told them they couldn’t come out until they had a radio hit.

As we’re beginning summer in our hemisphere, I couldn’t recommend more highly a new album to add to your musical rotation for the sunny days ahead.

“Carter Girl” by Carlene Carter

Carlene Carter

Carter Girl

Rounder Records

5 stars (out of 5)

By Donald Teplyske

Lives are filled with regret.

Carlene Carter’s story is well documented. In brief, she is the child of June Carter and Carl Smith, ex-wife of Nick Lowe, star of the “Cruel To Be Kind” video, a recording artist with several memorable performances before becoming an overnight success in 1990 with “I Fell in Love” and a series of hit and near-hit singles.

Then came the darkness, the lost and non-recording years, the substance abuse and career implosion. I’m guessing Carter has her share of misgivings about her life, the opportunities squandered, the negative impacts she may have had on herself and others.

I’m confident she has no uncertainties surrounding the recording of Carter Girl, the album many of us have been waiting for her to create since we first heard her sing. Beneath the spunk, rockin’ country, and the irreverence, and long before “I Fell in Love,” many knew that she would one day release an album that truly spoke to and explored her familial and musical roots. Performances from her TNN series Carlene Carter: Circle of Song—clips of which are on YouTube—reveal the appreciation she had for the music of the original Carter Family, of Mother Maybelle, and that of the Carter Sisters.

For the last decade—as she cleaned up her life and fully embraced the legacy afforded to her—Carter has grown stronger and fully blossomed. She was well-received in the theatrical performance Wildwood Flowers, and her album Stronger made numerous year-end ‘best of’ lists in 2008.

While she has consistently kept her family close on her albums—A.P.’s “The Winding Stream” was featured on Little Acts of Treason, which also featured Carl Smith on a reprise of his chart topping “Loose Talk,” Stronger‘s title track and “The Bitter End” contain more than a little autobiography, she’s recorded “Foggy Mountain Top,” “Ring of Fire,” and “My Dixie Darlin'” on various albums, and as liner writer Jim Bessman notes, going back to 1978’s “Never Together (But Close Sometimes),” Carter was using the Carter scratch method of picking—never has she dedicated an album highlighting her family’s importance on her music.

Now in her late-fifties, and completely comfortable with herself and her place as a bridge to country music’s past, Carter has, with producer Don Was, brought together an all-star band and several guests to celebrate and honor the legacy of her family. She has frequently spoken of having felt an obligation to carry the music of the Carters to subsequent generations, and with Carter Girl she has certainly done Maybelle, A.P., Sara, June, Anita, and Helen proud.

The album includes ten songs selected from the immense Carter catalogue. To her credit, Carter hasn’t selected only the most familiar songs—no “Wildwood Flower,” for example, nor then “Will The Cirlce Be Unbroken,” “No Depression in Heaven,” or “Keep On the Sunny Side.” She’s dug deep, searching out, connecting with and revitalizing timeless songs.

The formidable “Little Black Train” kicks off the album, as astute a choice as any made with the disc. This song with a clear message of getting right with the Lord pulses with conviction and forewarning, and the vocal harmonies of the amazing Elizabeth Cook and Joe Breen (Mr. Carlene Carter) on the chorus make things that much more intense. As expected, the song is livelier in Carlene Carter’s hands than when recorded by her forbears in 1935, with the rhythm section of Was and Jim Keltner propelling the song.
Cook shows up throughout the album, never more impressively than on the full-blown duet “Blackie’s Gunman.” Carter no longer attempts to hit the highest notes she once did, and leaves these to Cook who nails the harmony parts. Carter’s voice is huskier, more robust than in her video play days, but this works wonderfully with this material. She still sings like a dream. Sam Bush contributes mandolin to this track, making the instrument’s sound to slightly resemble an autoharp.

Aunt Helen’s venerable “Poor Old Heartsick Me,” a hit for Margie Bowes, is the type of song that almost anyone can sing-along with, while “Troublesome Waters” proves once again how difficult it is to listen to others sing with Willie Nelson. For me, this is the album’s only stumble. Willie is Willie, of course, and while it isn’t musical malpractice, it does interrupt the flow of the album.  I’ve long wondered why female singers attempt to harmonize with Nelson on slow-tempo numbers. Both Nelson and Carter’s vocal parts sound good in isolation, but to my ears their blend doesn’t. The performance is forced. Would it have worked better had they been eye-to-eye in the same studio when recording? Possibly.  I just know I would rather have heard Carter sing the song without Nelson.

More successful is when Kris Kristofferson drops by to join in on “Black Jack David.” The song, one of many that A.P. Carter borrowed from the folk tradition, works largely because the two singers match each other’s phrasing more comfortably than Nelson and Carter do. Carter also provides guitar accompaniment in the style of Mother Maybelle, a very noticeable contribution.
Utilizing modern technologies, Carter closes out the album singing with her mother, aunts, and Johnny Cash on “I Ain’t Gonna Work Tomorrow,” an emotionally abusive song of codependency disguised as a working man’s protest if ever there was one, while Carter sings June’s “Tall Lover Man” like the country classic it should be.

Within an artistic creation with no end of highlights, two of the most dramatic come directly from Carter’s imagination. “Lonesome Valley 2003″ is built around the classic spiritual, but is made more intense through the inclusion of Carter’s lyrics sharing the heartbreak of her family’s losses of that year.

The instrumentation of this track is beautiful—Carter’s piano, Rami Jaffee on Hammond, and guitars from Greg Leisz and Blake Mills—while Carlene sings as if she is in a country church, paying tribute to her loved ones. The emotion in her voice is palatable, and she says she genuinely choked up on the final verse. With lesser singers, this would be an affectation; for Carter, it’s the truth: she’s lived this song. Vince Gill’s vocal support may go unnoticed upon first listen, but it’s there on the chorus giving the arrangement additional depth.

The greatest song Carlene Carter may have ever written is re-recorded for this collection. “Me and the Wildwood Rose” originally appeared on the breakthrough I Fell in Love album, and at the time was a dramatic statement that—notwithstanding the country-rock beats of the title track and the video and stage prancin’ that accompanied it—she was a still a Carter girl.

A tribute to her grandmother and her aunts, the song wistfully reminisces about the days and nights on the road in the car with “grandma and her girls.” Now that all those mentioned in the song are gone, including the Wildwood Rose herself, Carter’s sister Rosey, the song assumes additional dimension. It was a stunning performance then, and it is even more so now, and it is on this track that Carter sounds most at ease—reinterpreting herself for a new generation, if they’re listening.

No regrets then with Carter Girl. At 47 minutes, it is a substantial project. The reservations I have with Willie Nelson’s performance are likely a product of my own prejudice; Was and Carter obviously appreciated what he brought to the studio.

The album is more than a tribute album to the various branches of the Carter family. It is the testament of a granddaughter, daughter, and niece committing herself fully to the legacy she has always embraced, a promise long ago made that the circle would remain unbroken.

“Long Time…Seldom Scene” by the Seldom Scene

The Seldom Scene
Long Time…Seldom Scene
Smithsonian Folkways
5 stars (out of 5)

By Aaron Keith Harris

It’s been more than 40 years since the Seldom Scene started their run as perhaps the most influential bluegrass band ever to emerge after the music’s founding generation, and this 16-track, 55-minute disc celebrates that heritage with the band’s current lineup playing some of their best-loved songs—and with guest appearances from founding members Tom Gray (bass) and John Starling (lead vocals, guitar).

Founding member Ben Eldridge (banjo)—whose versatile and inventive playing has long been the key element in integrating the Scene’s mastery of traditional bluegrass with their knack for innovation—is still the driving force, bringing vitality to songs he’s picked thousands of times. Just compare his old-school drive on “Little Georgia Rose” and “I’ll Be No Stranger There” to the deft backing on Dylan’s “It’s All Over Now, Baby Blue” and Gram Parsons’ “Hickory Wind.” (The latter song features Emmylou Harris, whose famous partnership with Parsons makes her the perfect fit to help on this one.)

The relative newcomers—Dudley Connell (guitar, vocals), Lou Reid (mandolin, vocals), Fred Travers (Dobro, vocals) and Ronnie Simpkins (upright bass, bass vocals)—all joined the Scene at different times, making each track an interesting listen as one tries to remember who played on what original recording, or on a favorite live performance from years ago. Occasional Scene contributors Chris Eldridge (guitar, son of Ben) and Rickie Simpkins (fiddle, brother of Ronnie) round out the family for this recording.

Even without Starling in the mix (as he is on the beyond-magnificent “Wait a Minute,” the swaggering “Mean Mother Blues,” and a restrained, simmering arrangement of Monroe’s “With Body and Soul”), the triumvirate of Connell, Reid, and Travers are a vocal team with more sonic and emotional range than any other band working today, even Blue Highway.

Travers is perfect for singer-songwriter material like “Walk Through This World with Me,” Reid’s high and clear tenor is made for progressive ‘grass cuts like “Big Train (From Memphis)” and “What Am I Doing Hangin’ Round,” and Connell rips through traditional arrangements like John Prine’s “Paradise” and Hazel Dickens’ “My Better Years” with his characteristic abandon. (The latter cut is, as far as I can tell, the only one the Scene had not put on record before now, but was one of Connell’s showpieces when he fronted the Johnson Mountain Boys.)

The presence that you can’t help but feel on this record is that of John Duffey, who died in 1996. One of the greatest voices and largest personalities in bluegrass history, he’s of course irreplaceable, but his daring and authoritative presence lives on in a band that’s been extending his legacy for nearly as long as Duffey spent shaping that legacy.

The final element that makes this a perfect recording—one that should be a hands down winner for the IBMA Award for Recorded Event of the Year—is the attractive packaging and 35-page booklet presented by Smithsonian Folkways. I love digital music as much as the next person, but this one belongs on the shelf of everyone with even a passing interest in bluegrass music in particular, or American music in general.

“Things Left Undone” by Darren Nicholson

Darren Nicholson
Things Left Undone
Bearded Baby Productions
5 stars (out of 5)

By Larry Stephens

Not to be overly philosophical, but I’ve found that reflections on how I’ve lived life increase as the decades roll by. The title song of Darren Nicholson’s new CD is a song I might have listened to but not heard at one time, sung without thinking. Now, I need to find somewhere to put this track so I can hear it on a regular basis.

When a stranger came knockin’, did you let him in?

Was there food on your table for a down and out friend?

Did you hide in the shadows? Did you walk in the sun?

Or do you regret the things left undone?

Good arrangement, good song.

While I’ve heard CDs that I felt had a wart or two, it’s rare to listen to a bluegrass CD that has anything less than superb musicians. This one isn’t pure bluegrass but ‘grass is its base and it meets the test. Nicholson plays mandolin and lead guitar plus doing the lead vocals. His list of accomplishments is long and he’s also a part of Balsam Range. He’s joined by a bevy of guests and Darren Nicholson Band members including Steve Sutton (banjo), Carl Jackson, Tim Surrett, and Aaron Ramsey plus others. How could you expect anything but good music from this lineup?

“Travelin’ Teardrop Blues” is a number about life on the road. It’s not traditional but it’s bluegrass, featuring Kevin Sluder on bass, Griff Martin on guitar and Tony Creasman on wallet box. It tells us about the tension between loving to travel but leaving behind loved ones. “Give Mother My Crown” has been covered many times, going back to its origin with the Bailes Brothers and a few years later by Flatt & Scruggs. Sparse, just a guitar and bass with Nicholson, Eddie Rose and Audie Blaylock doing the vocals. You won’t get much grassier than this, or the “Bluegrass Stomp,” one of Mr. Monroe’s compositions, featuring Steve Thomas on fiddle, and “Sugar Creek Gap,” a blazing instrumental.

They also dip their toes in country. “Way I’ve Always Been” is a Tom T Hall song from his 1997 Home Grown album, though they do it (with Sluder on lead vocals) twice as fast as TTH did. “In A Perfect World,” co-composed by Milan Miller, gets the full country ballad treatment with Jeff Collins playing some Floyd Cramer-tinged piano and David Johnson working overtime with guitar, fiddles, strings and beautiful steel guitar. If you like classic country ballads, this is as pretty as you’ll ever hear. “I’m Not Going There Today,” featuring Rhonda Vincent and Jennifer Nicholson on vocals and Miller on electic guitar, is another excellent classic country number.

Does your taste run to country, like Guy Clark’s “Rain In Durango?” Perhaps you like hot modern bluegrass: listen to “Dancin’ In The Kitchen.” They offer some rock-‘grass fusion with the Marshall Tucker Band’s “Can’t You See” in a bluegrass conversion. And then there’s the traditional side of their music. This CD isn’t pure bluegrass but it’s pure fun, and that’s what is important.

things_left_undone

“Gathering” by Aaron Ramsey

Aaron Ramsey
Gathering
Omni Artists Productions

5 stars (out of 5)

By Larry Stephens

EDITOR’S NOTE: Larry Stephens submitted this review in July 2013, but I must have hit the wrong button after I edited it, which caused it not to post publicly. I’m very sorry for this error, especially over such a fine project. —AKH

Aaron Ramsey is an excellent mandolin player. He debuted in a family band with his father, Michael, but by his early twenties he was (and is) playing with Mountain Heart, taking the spot vacated by Adam Steffey. Making the transition from being a band member to leading a project isn’t always easy, but Ramsey has made the leap to Gathering in fine style.

He can sing as good as he plays the mandolin. The only familiar song that he sings lead on is “John Henry Blues,” an old Osborne Brothers song. He tears into it along with a distinguished group of accompanists, including bandmates Jason Moore on bass and James Van Cleve on fiddle, Patton Wages (banjo, Volume Five) and the great Tony Rice on guitar. There are two other familiar songs on the CD, “One Tear,” another Osborne Brothers song with Mountain Heart leader Barry Abernathy guesting as lead vocalist, and Bob Dylan’s “Fare Thee Well,” featuring Ricky Wasson (American Drive, New South) singing lead and including Stuart Duncan (fiddle), Jeff Partin (resophonic guitar, Volume Five), Rice and Brian (banjo) and Maggie Stephens (bass).

Ramsey sings lead on the other cuts, several of them written by his father, Michael. Religious themes figure heavily in some of Michael Ramsey’s songs, including “The Healer” and “Seek Out the Lost” (featuring Ron Block [banjo], Randy Kohrs [resophonic guitar] and Tim Stafford [guitar]). But father can write and son can sell a good love-gone-wrong song like “Dark Days and Desperation.” “No Ones Found Her Yet” (Aaron Ramsey and Josh Miller) is a great mystery song, a woman disappeared and the man that loves her going crazy with loss while her killer runs loose. “The Streets of Abilene” strikes off in a different direction, telling the story of Marshal Tom Smith. The song, claiming Smith never used a gun, is slightly at odds with the Wikipedia version and fails to mention how he eventually lost his head, but it still makes a good story.

This CD underscores Ramsey’s strengths in songwriting, singing and on the mandolin, but it’s also a display of his versatility. On various numbers he plays sweep guitar, bouzouki (a mandolin cousin), upright bass, guitar, banjo and resophonic guitar in addition to mandolin. Listen to “The Souls of Pioneers” and you’ll discover he’s no slouch on any instrument he picks up.

This is a great CD by an impressive young musician. He needs to be in front of the mic and in the studio often.

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