“Lonesome and Then Some…A Classic 50th Celebration” by Larry Sparks

Larry Sparks
Lonesome and Then Some…A Classic 50th Celebration
Rebel Records
4½ stars (out of 5)

By Aaron Keith Harris

Larry Sparks is an undisputed bluegrass icon, as much for his prodigious talent—the mournful, masculine voice pitched a little lower than “high lonesome” and his commanding guitar technique—as his niche somewhere between bluegrass music’s first and second generations (as Carter Stanley’s successor alongside Dr. Ralph starting in 1966, he played a key role in that period of transition when followers of the founders started, ever so gently, branching out).

Fifty years a professional, he’s still as good a bluegrass (or country or gospel, for that matter) lead singer there is, and the band he’s got on this disc—David Harvey (mandolin), Ron Stewart (fiddle), Tyler Mullins (banjo), Larry D. Sparks (bass), and Jackie Kincaid (tenor vocals)—does him justice, especially Kincaid’s old-school harmony on the opening cut, Jimmie Skinner’s “Will You Be Satisfied That Way?” and the simmering gospel bluegrass of “We Prayed.”

Sparks offers up some more trad grass with tenor harmonies from fellow legends Ralph Stanley (on Carter’s “Loving You Too Well”), Bobby Osborne (“Letter to My Darlin’), and Curly Seckler (“Dim Lights, Thick Smoke”), while Seckler and Jesse McReynolds join in on Hank Williams’ gospel shouter “I’m Gonna Sing, Sing, Sing.”

But Sparks’ vocal virtuosity is in his ability to master both more contemporary bluegrass songs and banjo-less gospel. Here, the latter style is represented by “Going Up Home to Live in Green Pastures” (which never gets old, especially with Alison Krauss and Judy Marshall joining Sparks and solo guitar), and “Savior’s Precious Blood,” also with just bluesy guitar and that majestic voice.

Sparks again shows on the album’s three bluegrass story songs—the nostalgic “In Those Days,” the realistic coal mining ballad “Journey to the Light,” and the Southern gothic “Bitterweeds” how he can turn a good song into a great one.

The crowning touch of this 12-track disc is a 1995 live cut of Sparks joining Bill Monroe and His Blue Grass Boys on stage at Bean Blossom for “In the Pines,” which is predictably grand.

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“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.

“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.

“Somewhere Far Away” by Bradford Lee Folk and the Bluegrass Playboys

Bradford Lee Folk and the Bluegrass Playboys
Somewhere Far Away
Five Of Diamonds Records
4 stars (out of 5)

By Donald Teplyske

The early 2000s were an exciting time in bluegrass music’s still-brief history.

In some ways a changing of the guard was underway, as the next generation of players and singers were emerging while first and second generation legends were feeling—in various ways—the hands of time.

In other places, the music was stretching as jazz, pop, mainstream, classical, and other influences were not only colouring the contemporary bluegrass sound, but in some cases were being wholeheartedly incorporated into the music.

While all this was occurring, there were—as there has always been—others who were taking the music back to its roots, defining bluegrass by building upon its very stable foundation.

Bands as diverse as the Infamous Stringdusters and the Grasshoppers hit the ground running. Pine Mountain Railroad and Nickel Creek could be heard alongside the Wilders and the Karl Shiflett and Big Country Show.

Youngsters straight out of college—and others still in high school—formed bands who performed largely original songs while ably demonstrating their mastery of the deep catalogue established by the Monroes, Osbornes, Stanleys, McReynoldses, and the west coast pioneers like Vern & Ray, bands like the Steep Canyon Rangers, King Wilkie, Barefoot Bluegrass, and more.

Super groups like Rock County, the Grascals, BlueRidge, and Wildfire reinvigorated sidemen and veterans of the business. We were riding the O Brother bubble. Stringbands were everywhere, jam bands started to be welcomed into our world, and thanks to the increasing capabilities of the Internet, regional bands could connect with the wider bluegrass audience as never before.

Some of the groups are still going today, while more flamed out after a couple albums, and others faded away almost as quickly as they appeared: why didn’t the Circuit Riders ever achieve the level of prominence their debut album promised?

Of all the bluegrass bands that made a splash after the turn of the century, few held the potential of Open Road. Before their self-titled, Sally Van Meter-produced debut appeared, their name was beginning to be passed around by those who had caught a performance of the Colorado-based group. When that independent album—the one with BLUEGRASS prominently above the band’s name, and with the bold pronouncement/disclaimer “featuring 5-string banjo”—hit the player, converts were instantly made.

Their music had drive and fire. They were fronted by two young guys who seemed to have been born to play the bluegrass music, mandolinist Caleb Roberts and guitar picker and lead singer Bradford Lee Folk. Not only did they look the part—from their publicity photos, both could have been in the Clinch Mountain Boys around the time Skaggs and Whitley left—they recreated the classic sound of bluegrass wonderfully, as the cliché goes ‘making old songs sound new, making new songs sound old.’

Open Road toured relentlessly, signed on with Rounder Records and released two additional albums to great acclaim, Cold Wind and …in the life. They acknowledged their influences, some like Del Williams, Buzz Matheson & Mac Martin, and Vern & Ray, under-heralded within much of the broader bluegrass world. Their concert appearances were exciting and fresh, their albums ideal.

Around the time their third Rounder album appeared, the band broke up. The band had experienced personnel changes over time—fiddlers seemed to come and go with each new release—but shortly after Lucky Drive was released in 2005, Open Road was “flaming out from the pressures and temptations of being thrown into the touring musician life too young,” according to Folk’s current one-sheet.

I seem to recall hearing that Roberts was going to attempt to keep working the bluegrass road, but the last I heard he was in Colorado working for a living, but still picking. Folk sought stability, bought a Colorado honkytonk, booking bands in and working the other side of the music business table. From what I understand, he eventually relocated to Nashville, started gigging, and this past spring released his first recording in almost ten years, Somewhere Far Away.

The first thing one may notice when listening to the brief, eight-song collection is that things seem to be a bit mellower, less frenetic. There is no shortage of energy on this set of modern-Americana infused bluegrass. It is just that Folk isn’t in any great hurry to get to wherever it is he is taking us. The approach is perhaps a bit more mature, with a greater emphasis placed on mood and atmosphere.

The album’s lead track, like all but two of the songs a Folk original, is likely the one most reminiscent of the familiar Open Road approach. “Foolish Game of Love” features Matt Flinner’s mando at the fore, providing that audible connection to the music Folk previously made with Roberts. Folk pushes the music, his voice dipping into a purposeful near-mumble at some points, while at other moments in the song he is clear in his articulation. This expressive, mournful drawl works in counterpoint to the artful and lonesome clarity of his tenor, loading the song with restrained emotion.

Folk remains a great singer, but now is even more expressive in his communication than he was when he was younger. The fire has been tempered, but it continues to burn.

In some ways, and not only in its brevity, Somewhere Far Away recalls Jimmy Martin’s ‘good and country’ bluegrass albums. This recording is every bit as spirited as Martin’s finest recordings, but like them there is also a bit of an edge to the songs, a touch of bitterness and regret. “Trains Don’t Lie” is rich in atmosphere while conveying a narrative that is complete and compelling. “Denver” is a song that (I think) contrasts the longing for an open road with the comfort and familiarity of home.

Undoubtedly a bluegrass recording, Folk incorporates a very strong band to solidify his sound. Robert Trapp, the only member of Folk’s current Bluegrass Playboys appearing on the album, is a very strong 5-string player; his break and fills on “Never Looking Back”—a John Stewart-meets-Sam Bush epic in miniature—are impressive without detracting from the musicians working with him. With Flinner, Matt Combs (I’m guessing fiddle) and Mike Bub (bass, I’m hoping it is safe to suggest—the album doesn’t contain specific credits) round out the core group.

As an aside, “Never Looking Back,” by Jim Kelly, previously appeared (with a very different arrangement) on David Davis & the Warrior River Boys outstanding 2009 album, Two Dimes & A Nickel; Folk learned the song while he was playing with Davis—I’m guessing around the time that album was released—something I didn’t know he had done.

While there are only eight songs on the album, there is no shortage of memorable songs. A standout is the closing track, “Soil and Clay;” written by Folk, this earthy ballad is as dark as it is honest, much like a Fred Eaglesmith song. The album’s other non-original comes from Folk’s friend Nick Woods; “The Wood Swan” is another good one, and really showcases the various musicians’ abilities.

Bradford Lee Folk and the Bluegrass Playboys may not receive the unbridled heralding that greeted Open Road. Somewhere Far Away is a bluegrass album, without doubt. But it is a different sort of bluegrass than that produced by Open Road. There are more shades to this music, more exploration of the gravel bits on the road’s shoulder rather than heading straight down the white lines in the middle of the highway.

“Joe Mullins & the Radio Ramblers with Special Guests the Centerville Alternative Strings” (DVD)

Joe Mullins & the Radio Ramblers
Joe Mullins & the Radio Ramblers with Special Guests the Centerville Alternative Strings (DVD)
Self-released
4 stars (out of 5)

By Aaron Keith Harris

Joe Mullins started this five-piece traditional bluegrass outfit several years ago, partly to promote his Classic Country Radio stations, with whose terrestrial broadcast signal I am privileged to reside.

They were rightly recognized as the International Bluegrass Music Association’s Emerging Artist of the Year in 2012, and their stage show, which they’ve taken far and wide, is a big part of why. Mullins is one of the finest bluegrass five-stringers aline today, and the Ramblers’ four studio albums have been first-rate, but this 16-song DVD that clocks in at more than 70 minutes will show you why they were honored by the IBMA and are in demand by bluegrass promoters and festival-goers.

Mullins is just as friendly and engaging on stage as he is as a radio deejay—he learned a lot from his father, the late, legendary broadcaster and fiddler Moon Mullins, and his son Daniel is just as good on the air—and this trait sets him apart from other great pickers who often neglect to hone their skills as stage presenters.

This show, recorded at Centerville (Ohio) High School, features a nice sampling of songs from the Ramblers’ four releases, including personal favorites “Worth It All” (a bouncy gospel number), “Lily” (borrowed from the Boys from Indiana), and “Katy Daley” (a poem turned into a classic bluegrass song by Moon Mullins).

Duane Sparks ably fills the guitarist/vocalist slot vacated by Adam McIntosh, and longtime Ramblers Mike Terry (mandolin, lead, and trio harmony vocals) Evan McGregor (fiddle and some quartet harmony) are as good here as they are in the studio.

The Centerville Alternative Strings, orchestra students from the host high school, join in with conductor Doug Eyink to close the show in grand style with the David Harvey instrumental “Cruisin’ Timber” and the Bill Anderson-penned “Some Kind of War.” Eyink’s arrangements are uncomplicated but powerful, and played with heart and artistry—just like the music played Mullins’ fine band.

“The Road That Brings You Home” by Jim and Lynna Woolsey

Jim and Lynna Woolsey
The Road That Brings You Home
Broken Record Records

4½ stars (out of 5)

By Larry Stephens

The Woolseys represent an unknown but significant number of people who have a load of musical talent but ply their skills in relative obscurity. His publicity piece says he’s shared the stage with acts like Andy Williams and Marty Robbins. Robbins, one of the great country singers, died in 1982. This doesn’t sound like a career on the rise and that would be a shame. This CD has two primary themes: being on the road and the heartbreak of Nashville.

I gave my heart and they [Nashville] gave me no warning

‘Cause they ripped it out and threw it at my feet

Now it’s been ten years ago, maybe longer

But who’s counting when no one cares but me?

They say that good, hard work will make you stronger

Well, I’m about as strong as I wanna be

“Back To Tennessee”

He carries on the theme of a tough life in the city, wishing he was home (“If I only knew then what I know now, I’d be back home behind a plow”) with a haunting melody in “Letter From the City.” One of the virtues of home was being able to spend time on the river, remembered in “River Road.”

Nashville has proven a tough row to hoe, but he embraces an early life on the move. His daddy had “the world’s worst case of wanderlust” (“Wheel In His Hand”) and “was a rolling stone” (“Gypsies In a Wagon”). Despite a life on the move, he describes a close-knit and caring family. Both are moderate speed story songs that look back to Woolsey’s early life. His father’s love for the road wasn’t limited to trucks. “The Ride” tells about his father’s Whizzer motorbike.

The writing is consistently good, never trite. The music isn’t Jimmy Martin bluegrass or modern country but comes closer to the countrygrass genre than any other; it would play well at a bluegrass festival. The melodies vary and the arrangements are inventive. Woolsey plays guitar with guests Randy Kohrs (resonator guitar, producer and engineer), Clay Hess (mandolin), Tim Crouch (fiddle), Mark Fain (bass) and Mike Sumner (banjo). With that lineup and Woolsey’s deft touch with a pen you’re bound to have good music.

“Rude Jenne” is a country number about a good man who gets into trouble and meets John Dillinger. This was his great-grandfather and these are stories told when Woolsey was a small boy. Woolsey grew up in southern Indiana in the general area that now holds Lake Patoka. This area is also home to bluegrass great Ron Stewart. He started playing with the Patoka Valley Boys when he was fifteen and he and Lynna married after she started performing with the same band. (Go to folkstreams.net for an excellent video about this group.)

Changing pace, “She’s Gonna Fly” showcases Lynna Woolsey’s vocals, a story about her own brush with breast cancer. She also contributes a swinging country number, “I’m The Best You’ll Ever Do,” a warning to her man that he needs to be good to her because he’ll never find better. The title song describes how life may take us many places, but there’s only one road that brings you home. And he adds a good, driving gospel number with “Will You Be Ready.”

This is good writing and good music. If you’re far from their southern Indiana home you may never get to see them in person, but you owe it to yourself to hear this CD.

“Too” by Flatt Lonesome

Flatt Lonesome
Too
Mountain Home Records
4 stars (out of 5)

By Larry Stephens

It’s long been rumored that some big–name country stars can’t sing on key, so they use auto–tuners in the studio and on the road. Bluegrass producers might use it in the studio (although I doubt it’s widespread) but I asked Tom Feller, who provides sound to venues like Bean Blossom (and is half of Feller & Hill) about having it in his equipment. He’s not aware of any bluegrass group using them on their live shows.

I’ve heard Flatt Lonesome’s live show. What you get on their CDs is what you’d hear jamming with them around the campfire. Their pitch is excellent and their harmony is as good as you’ll hear anywhere. This is their second CD and they continue to make excellent bluegrass music. “Slowly Getting You Out of the Way” is a hard–driving Randall Hylton song that features some good breaks. “I’m Ready Now” is another pure bluegrass number on the gospel side. Kelsi Robertson Harrigill sings the lead with siblings Buddy and Charli Robertson adding their signature harmony vocals.

The musicianship of the group is excellent, too. Buddy Robertson plays guitar; sister Charli Robertson plays fiddle while sister Kelsi Harrigill adds mandolin. Her husband, Paul Harrigill, plays banjo and guitar and the band is rounded out with Dominic Illingworth on bass and Michael Stockton on resophonic guitar.

“Dangerous Dan” is a Tim Stafford/Barry Ricks number with a twist. It’s the story of a hard times moonshiner who ends up as a God-fearing preacher. It seems there’s hope for all of us. Another good Hylton song is “So Far,” yet another story of broken love.

Then there’s the countrygrass. It’s been part of bluegrass almost forever: how many Louvin Brothers songs have appeared on bluegrass recordings? Crowds I have seen at live shows seem to like it; they certainly applaud it. Some people don’t. A banjo–playing friend called me this morning complaining about a bluegrass–marketed CD that sounded too much like country. If you don’t object to countrygrass, there’s some very good numbers on this CD.

“Letters Have No Arms” is a 1949 Ernest Tubb song that’s a great love song. (Bluegrassers may recognize a couple of other Tubb recordings: Wabash Cannonball and “one of his old favorites,” Drivin’ Nails In My Coffin.) “I Thought You Were Someone I Knew” is a waltz beat love song with an unusual fiddle interlude (some people might mistake the intro as flutes). “It’s Probably Just Her Memory Again” makes good bluegrass to my ears, but I can also imagine standing on the stage in a club singing it to a country crowd. Most times the country/bluegrass division is just the delivery and the instruments. “I Can’t Be Bothered” is very country, which is hardly surprising since it was recorded by Miranda Lambert. Of the two, I like Flatt Lonesome’s harmony better.

I expect the “too much country” argument will continue longer than it takes the pines to grow tall. If you aren’t concerned by it and like really good music, you need to run out and get this CD.