“Relics and Roses” by Tellico

Relics and Roses
4 stars (out of 5)

By Larry Stephens

Tellico is described as “firmly planted in … [the] roots music scene, Tellico is well-schooled in bluegrass but with an unbridled, organic Appalachiana sound” If you’re wondering what that means, think old-time, Old Crow Medicine Show, and roots all mixed together.

Lead singer, guitarist, and fiddler Anya Hinkle composed about half the tracks. Listening to her sing I’m reminded of Janis Joplin. Open a browser and in one tab load “Backstep Blues” from their website and in another tab load Joplin singing Me and Bobby McGee.” “Backstep Blues” has a nice beat, ringing an OCMS bell somewhere in my head, anchored by Jed Willis’ clawhammer banjo. You have to work at understanding the lyrics. Never mind that, just enjoy the flow of the song. Hinkle has dallied in multiple genre and spent time with other Tellico members in Dehlia Low, a band variously described as bluegrass, country and/or old-time.

Bass player Stig Stiglets composed the other half of the songs (except “White Line — River of Pride,” a Neil Young song that was released under two titles) and sings lead on several tracks. “Calamity” is a song about disaster inspired by various calamities around the world. It’s a good song, though Stiglets as a singer will be an acquired taste for some. Aaron Ballance on dobro is outstanding.

“Lean Into It” is a swinging song of betrayed love but you may find the title, repeated often, a bit puzzling in its meaning. The rest of the message is clear and the harmonica is a good fit. I like the tune and flow of “Mexico 1995,” but I have trouble understanding Hinkle’s lyrics. There’s some good picking and interplay of instruments in this cut. I have the same trouble with “Forsaken Winds;” love the tune, and I think I like the lyrics when I can figure them out. “Morning Haze” is another likable song with some good instrumental work.

It’s a bit quirky but enjoyable, like inviting Bob Dylan into your CD player for a while. If that sounds like fun, you’re going to like this CD.



” Down to Believing” by Allison Moorer and “I Can’t Imagine” by Shelby Lynne

Shelby Lynne
I Can’t Imagine
Rounder Records
3.5 stars (out of 5)

Allison Moorer
Down to Believing
Entertainment One Music
3 stars (out of 5)

By Donald Teplyske

The Sisters Moorer have never been shy about peeling back layers to expose their truth. The resulting music has often been incredibly enlightening and enjoyable, but almost as frequently overwrought and indulgent.

On their most recent releases, we get a balance of these elements.

Almost universally favorably reviewed and produced by guitarist Kenny Greenberg, who served in the same role for her first two albums, Down to Believing provided Allison Moorer with her most significant chart impact since 2000. Despite its relatively modest stay on the charts, Down to Believing appears to have been designed with modern radio influences in mind. Moorer has always produced music with more than a bit of sheen, and any bite that may have previously been present has been wholly removed from the bulk of Down to Believing. Despite its gloss and seeming (and misguided) Sheryl Crow aspirations, this recording has much to offer.

Songs like “Tear Me Apart,” “If I Were Stronger,” and the title track are powerful, stylised songs that make up for their lack of grit and personality with an abundance of production that may well should have—but ultimately didn’t—find its way onto country radio. (Also, could “I Lost My Crystal Ball” be the last pop-rock/country song that includes the ‘wrecking ball’ metaphor? Please?)

While these songs may express emotions, genuine impressions, and poetic reflections from a failed marriage and the challenges of motherhood, they’re just not particularly remarkable.

On what those of us of a certain age would call Side Two, the album’s strongest songs, “Blood” (written with her sister in mind), “Back of My Mind,” “I’m Doing Fine,” and “Wish I”  connect with this listener because of intrinsic power, not calculated bluster. “Mama Let the Wolf In” is angry and unforgiving. The acoustic closer “Gonna Get It Wrong” reveals that Moorer is at her best when minimally accompanied, honestly exposed and singing in her true voice and nature.

On first impression a cover of Creedence’s “Have You Ever Seen the Rain?” appears unnecessary, but when she sings the words “when it’s over, so they say, it’ll rain a sunny day,” Moorer is closing the cover on a turbulent decade, and one hopes that Moorer will find her stride across the entirety of the next album.

Shelby Lynne scares me a little. I’m never entirely sure of what I’m going to hear when Lynne releases an album, and while that unpredictability could be exciting, for me it is more often unsettling.

While I’ve appreciated her since the first time I heard “If I Could Bottle This Up,” a single with George Jones that predated her Billy Sherrill-produced debut, Lynne’s recordings have been inconsistent. Tough All Over, Temptation, I Am Shelby Lynne, and Just A Little Lovin’, as diverse a group of recordings from a single artist might be, remain favorites. Other albums, Soft Talk, Love, Shelby, and Tears, Lies, and Alibis, are uneven and, in places, unbearable.

I Can’t Imagine is largely successful; but like Moorer’s Down to Believing, it is uneven.

The first thing that I noticed when listening to the album is the strength of Lynne’s voice: that hasn’t changed. Alternately soulful, swampy, and blue and breezy, front porch-loose, even when the lyrical material is marginally questionable (as on “Back Door, Front Porch”), those trademark tones makes one notice her performance.

Further listening reveals that any connection to country music—be it classic, modern, alt- or otherwise—must be an accidental influence of who Lynne has always been. Overall, I Can’t Imagine is less Anywhere, Country than it is an expression of genre-free, Carole King/James Taylor impressionistic performance: labels have seldom (ever?) mattered to Lynne, and she continues that free-wheeling search for the perfect sound throughout this expansive recording.

Actually, rather than King and Taylor, given the album’s musical breadth and flamboyance, a more accurate point of reference might be Brian Wilson’s ambitious That Lucky Old Sun.

Two songs stuck out upon initial listening, “Love Is Strong” and “Be In the Now.” Both reminded me of Ron Sexsmith, whose excellent and under-appreciated Carousel One has been playing in the car this week. I wasn’t surprised then to review the liner notes to find that these were co-written by Sexsmith, one of North America’s most impressive pop songwriters (in the magical and positive, ’70s singer-songwriter tunesmith sense of the “pop” word).

The standout performance is perhaps “Down Here,” one of five songs credited to Lynne alone. Over a bed of restrained instrumental elegance—guitars, bass, Wurlitzer, percussion, and just a sliver of pedal steel—Lynne testifies (along with a choir of friends) of her “dark, Dixie closet,” “Oh, lightning strike away the pain, thunder clap away the shame; truth is a masquerade: down here.” The song builds in intensity over its five-minute run, revealing a fragmented reality that is honest, affecting, and no little bit joyful.

Any negative impression the album leaves with this listener is similar to that which impacted the earliest parts of the Moorer release: how much of the album sticks when it is over? After a week of listening to I Can’t Imagine, the melodies and words of a few songs had a lasting impact. The remaining tracks, including “Paper Van Gogh,” “I Can’t Imagine,” and “Following You,” faded.

Allison Moorer’s Down to Believing and Shelby Lynne’s I Can’t Imagine each contain a selection of outstanding, memorable songs and performances weakened by too many filler tracks. Of the two, on balance Lynne’s is the more impressive as a result of the soulful depth her voice and music continue to possess.




“Tunes from the North, Songs from the South” by Fiddle & Banjo

Fiddle & Banjo (Karrnnel Sawitsky and Daniel Koulack)
Tunes from the North, Songs from the South
4 stars (out of 5)

By Donald Teplyske

This has been a great summer for roots music.

Whether the folk and alt-folk (whatever the frick that is) sounds of Norma MacDonald and Nick Ferrio, troubling, dark, and challenging sounds from the likes of Rodney DeCroo, Brock Zeman, and Gordie Tentrees, or breezy, fresh bluegrass from Dale Ann Bradley, the Slocan Ramblers, and Shotgun Holler, there has been no shortage of new roots music for the adventurous listener.

Sometimes great things have been missed on first (and fifth) listen, such as the swirling, swampy, harp-based blues of Grant Dermody, the sweet and elemental music of the Honey Dewdrops, and the Appalachian honky-tonk of the Honeycutters.

Eventually, like most elements of quality, what you need to hear eventually makes itself known.

More than anything else though, this summer has been marked by the number of exceptional old-time sounding albums coming my way. There has been a traditional, mountain-based banjo release from Kaia Kater, a mid-western song cycle celebrating and anthologizing the plains from Jami Lynn, and a ‘grassopolitain set from the Lonesome Trio: old-time has been well represented these past several weeks.

Just to be clear, I had never heard of Kaia Kater or Jami Lynn a month ago, but now I can’t imagine them not being part of my musical soundtrack. Another amazing album released this summer comes from the equally (to me) unfamiliar Canadian duo, Karrnnel Sawitsky and Daniel Koulack. And yet again I am left wondering, How did I go this long without hearing for these folks?

Recording as Fiddle & Banjo, this duo is remarkable. Karrnnel Sawitsky plays the fiddle, and having been raised on the vibrant music found within the celebratory environs of Saskatchewan (barn dances, weddings, community hall performances, and the like), plays in a range of styles depending on the needs of the tune or song. Daniel Koulack is a clawhammer banjo performer from Winnipeg who coaxes evocative phrases from his 5-string.

With an album title of Tunes from the North, Songs from the South providing the framework, the expectations from the resulting album are fairly clear. Fiddle & Banjo doesn’t disappoint with tunes that capture the Métis, Quebecois, and mid-eastern Canadian fiddling traditions of our country while embracing southern influences throughout including on a few original compositions.

The sounds can be pensive and calming (“Waltz of Life,” a Sawitsky tune), soothing (“Lullabye,” from Koulack”), and lively and festive (“The Old French Set,” a trio of traditional pieces including the “Red River Jig”). From the playing of Saskatchewan Métis fiddling legend John Arcand comes “The Woodchuck Set” featuring “Indian At the Woodchuck,” “Old Reel of 8,” and “The Arkansas Traveller.” I’m not sure old-time, traditional sounds get better than the four-minute festival of fiddling and frailing on the latter track.

Pushing Tunes from the North, Songs from the South over the top are five songs featuring the voice of Joey Landreth of the Juno-winning the Bros. Landreth. “Red Rocking Chair” is lonesome and mournful, buoyed by the lively instrumentation, with “How Does a Poor Man Stand Such Times and Live” and “Killin’ Floor” suitably dark and bluesy. The highlight for me may be the spritely rendition of “Little Birdie,” although “Groundhog” comes a close second.

Kaia Kater, the Slocan Ramblers, and now Fiddle & Banjo have moved Canadian old-time music making to the fore this summer. Hopefully we’re ready for this explosion of artful, contemporary talents.

“Jayme Stone’s Lomax Project” by Jayme Stone

Jayme Stone
Jayme Stone’s Lomax Project
Borealis Records
5 stars (out of 5)

By Aaron Keith Harris

Canadian banjo player Jayme Stone continues his run of intriguingly diverse projects with this 19-track disc celebrating the centenary of seminal folk song collector Alan Lomax.

Stone has done a fine job picking tunes from Lomax’s stockpile, but an even better job picking talent to present those tunes in several different styles, including:

  • Brittany Haas and Bruce Molsky with two entrancing fiddle duets, “Julie and Joe” and “Old Christmas.”
  • Stone and Haas with “Hog Went Through the Fence, Yoke and All,” which, in spite of it’s rustic title is an inventive and nuanced fiddle & banjo conversation.
  • “Before This Time Another Year,” “Sheep, Sheep Don’tcha Know the Road,” and “Prayer Wheel,” all gospel septets in the Sea Island style, with Tim O’Brien’s inimitable voice the most recognizable element.
  • O’Brien on two duets: with Moira Smiley on the quaint romantic folk of “T-I-M-O-T-H-Y” and with Margaret Glaspy on the sad cowboy song “Goodbye Old Paint.”
  • Eli West setting Lead Belly’s a profane farm work holler “Whoa, Back, Buck” in a sumptuous guitar and fiddle (Haas) arrangement.

There’s also a prison song, a calypso murder ballad, and a nearly six hundred-year-old English ballad that was captured by a ballad hunter from a Virginia sawmill cook and is here sung by a septet with no accompaniment save body percussion set to a 9/8 folk rhythm originating somewhere in the Balkans. (To fully enjoy this album, I strongly recommend buying the CD, attractively packaged with detailed liner notes of these recordings, and the ones they’re referring to.)

Among all these great musicians and singers, Stone’s best choice is clearly Margaret Glaspy, whose voice recalls Abigail Washburn and Frazey Ford, among others. The tracks on which she sings lead—including “Lazy John,” “I Want to Hear Somebody Pray,” “Maids When You’re Young,” and “Lambs on the Green Hills”—are impeccably arranged and played by Stone and company, but Glaspy turns them into the best acoustic tracks I’ve heard from anyone this year. Her singing is strong and magical while conveying the illusion of brokenness—not unlike some work from Neil Young, or Bjork; she turns well used standards like “What is the Soul of a Man?” and “Shenandoah” (both of which happen to be particular favorites of mine) into the stuff of transcendent meditations on the permanence of great music. We should all look forward to hearing more from this truly great singer.

“Don’t Forget Me Little Darling” by Antique Persuasion

Antique Persuasion
Don’t Forget Me Little Darling
Voxhall Records
5 stars (out of 5)

By Larry Stephens

You simply cant count the country and bluegrass musicians who list the Carter Family as an influence in their music. Just as Bill Monroe became known as the father of bluegrass, despite a number of notable stars who contributed to that birth, the Carter Family have a place in history as the parents of country music. They were not the only people making music like that back then but they have stood the test of time as one of the foremost groups at the birth of this music we love.

A.P. Carter, his wife Sara, and her cousin and his sister–in–law, Maybelle, captured the imagination of the common folk at a time when life was hard for them. The Carter Family first recorded in Bristol, Tennessee in what we now view as primitive conditions. They were interested in making a few dollars, never dreaming what they would start that day. “Bury Me Beneath The Weeping Willow” is the left bookend of the Carter Family’s recording history and this CD. This song has been recorded countless times in bluegrass, country and western (cowboy) settings. The Carter Family versions of all these numbers have a different feel than this recording, in part because of the instrumentation—usually only a guitar, partly because of advances in recording technology and partly because of technique. The Carters’ singing was straightforward, unadorned, even a bit strident. Some, perhaps many of the fans of bluegrass and classic country today wouldn’t listen long to a Carter Family recording.

The CD cover credits A.P. Carter as the composer of all but one of these songs. Take that with a grain of salt. While his name may appear on official credits, many of the Carter Family songs are adaptations of songs that pre–date them by decades if not centuries. “Bury Me Beneath The Weeping Willow” was the subject of a 1970 conversation with Maybelle Carter as reported on grassclippings. “That was a song we had sang all our lives. [Read the center section on the website.] The original version of the song was written by Bradley Kincaid.” Another conversation relates, “Other sources suggest the song’s older, a late–19th–century ‘heart song’ that Kincaid adopted; apparently a sheet music version dates to a year when he was 14 years old, making his authorship unlikely.” None of this affects the contribution of the Carter Family nor the beauty of this new CD, but it’s always good to have a hint of the actual history of the songs.

My wife, a fringe fan of bluegrass (as I’ve reported before) was listening to this CD as we drove and she described it as “soothing.” I know she would never say the same about the original version. Have no doubt, though, Antique Persuasion honors the Carter Family music, just giving it a 2015 interpretation. The last song recorded by the Carters, and the only one here not “written” by A. P. Carter (it was composed—or adapted—by Maybelle Carter), was “ You’re Gonna Be Sorry Cause You Let Me Down.” (CF version) Brandon Rickman sings lead and plays guitar and mandolin. He’s a good one to be singing these traditional songs because he has a voice that speaks bluegrass to me. Not that there isn’t room for other types of singers, such as the high, lonesome sound of Monroe or the balladeer’s voice of David Parmley. But I especially enjoy singers like Rickman. It’s in the tone and inflection, his phrasing. Like bluegrass, you know it when you hear it. You can hear Rickman’s voice often because he’s the lead singer for the Lonesome River Band.

He’s joined by Jenee Fleenor. She’s made other appearances in bluegrass but her primary job is backing Blake Shelton (vocals, fiddle, mandolin, guitar). Brennan Leigh, a great singer from Austin, Texas, rounds out the group, offering vocals and guitar. Mark Fain makes a guest appearance on upright bass. Warning! There’s no banjo present but, to be fair, the Carter Family didn’t use one, either.

Rickman also sings lead on “Lover’s Lane” (familiar from Red Smiley & the Bluegrass Cutups) and “Lover’s Return” ( familiar from Emmylou Harris, Linda Ronstatdt & Dolly Parton).

“Dark and Stormy Weather” is a departure from the straightforward nature of most of the songs. Sung in minors, it’s dark and moody. Sung by Fleenor, there are no background vocals and only Fleenor’s fiddle and guitar and Fain’s arco bass. It’s moodier than Helen Carter’s version which is also a takeoff of the original. She also sings lead on “When Silver Threads Are Gold,” a lighter–hearted song about love. “Lonesome For You” is done as western swing and is a familiar number to any fan. The original version had this same feel but in a more primitive fashion. Fleenor trades leads with Rickman and you’ll hear great harmony singing, on this and all other songs except “Dark and Stormy Weather” and Fleenor’s other lead number, “I’m Thinking Of My Blue Eyes.” Again it’s just Fleenor and Fain with an arrangement that gets away from the Carter Family (and usual) styling, but is beautifully done, giving a fresh take on this familiar song.

Leigh sings lead on “Broken Hearted Lover” (not to be confused with the Delmore Brothers/IIIrd Tyme Out song of the same name). You’ll note Fleenor’s fiddle providing support on this song, smooth, melodic, and relaxing (to use my wife’s description). She also sings lead on “Don’t Forget Me Little Darling,” “Hello Stranger” (recorded by Emmylou Harris and Hazel Dickens/Alice Gerrard) and the only gospel number, “On the Sea of Galilee.”

This is an excellent window into the Carter Family’ great body of work. Great singing by the three members of Antique Persuasion, excellent instrumental work, great arrangements. If you like bluegrass, don’t miss this one.

“Brighter Every Day” by Trout Steak Revival

Trout Steak Revival
Brighter Every Day
4½ stars (out of 5)

By Donald Teplyske

I don’t love every album that crosses my desk, and I tend to write only about those that move me in some positive manner. This year I have received a dozen or more albums from youthful, neo-bluegrass outfits (most of whom sport much too much facial hair…not sure why that bothers me so much…) and only a few have inspired my written efforts.

Trout Steak Revival is one of those exceptions. Darn it all, they are some kind of good.

Theirs is a story told across the continent. Five friends come together and form an acoustic band to perform their interpretation of modern bluegrass, more Sam Bush and Della Mae than Stanleys and Mullinses. Each member is a singer, all write songs. They woodshed. They win the 2014 Telluride Bluegrass Festival Band competition, as have Greensky Bluegrass, Spring Creek, the Hillbenders, and Front Country in recent years. They meet Chris Pandolfi of the Infamous Stringdusters, who produces their third album.

And they sell 100,000 copies of that release.

All but the last has unfolded for Trout Steak Revival, but danged if I can figure why they haven’t already sold a truck load of albums, opened for the Grateful Dead at their final shows, or made the cover of American Songwriter.

Because this is excellent music. Trout Steak Revival are Steve Foltz (mandolin and guitar), Casey Houlihan (bass), Will Koster (dobro and guitar), Travis McNamara (banjo), and Bevin Foley (fiddle.) All sing and the band appears to function as a cohesive collective that has its sights on a common vision. Based in the Colorado mountains, the group presents the free-spirited manner many associate with bluegrass emanating from the Centennial State.

What you’ll find is bright, enlivening bluegrass played with communal closeness bred of familiarity, companionship, and respect. Trout Steak Revival’s songs are mood-inducing in the way of the finest of the new breed, and yet are rooted to the foundational aspects of bluegrass—harmony, rhythm, and drive—but not of the obvious, in-your-face type—along with quality musicianship, captivating lyrics (how about, “stealing midnight shadows, I’m swimming in my sleep,” from the album closer “Colorado River?”) and sufficient tempo and key variety to maintain the most scrutinizing listener’s interest. If they remind me of anyone it is Acoustic Syndicate, minus the drums, especially when McNamara is singing the leads.

Original songs of fragility and nature (“Wind on the Mountain” and “Colorado River”) are balanced by yearnings for home and stability (“Union Pacific” and “Days of Gray”) and energetic flights of fancy (“Brighter Every Day”). And pie (“Pie”).

“Oklahoma,” sung by Foltz, is another highlight, with vocals that soar within the confines of the melody; no one is showing off within these songs—every note counts and supports, each phrasing adds to the keenness of the song.

“Go On,” featuring Foley’s strong, bouncy voice, is the only song that moves from bluegrass into swing territory, and is a fine change-of-pace. The album’s sole instrumental, “Sierra Nevada,” reminds us of tunes found on old Ralph Stanley and Bill Monroe recordings, ones that seem like they should have words, but whose bow strokes and mandolin notes communicate as much as rhyming verse might ever.

Have I mentioned that Brighter Every Day is an excellent modern bluegrass recording?

“Della Mae” by Della Mae

Della Mae
Della Mae
Rounder Records
4 stars (out of 5)

By Donald Teplyske

I’ve been playing this album regularly for the past few months, but couldn’t figure out what to write about it considering the number of quality reviews that have been published. But, once more unto the breach…it is my vocation, after all. Della Mae is the quintet’s third album, and features the four core members of the group with guest bassist Mark Schatz pinch hitting.

Vocal dynamo Celia Woodsmith continues to front the group and contributes some guitar, with the leads played by Courtney Hartman who also plays the banjo. Kimber Ludiker is the very expressive fiddler and Jenni Gardner handles the mandolin, certainly one of the group’s strongest assets. The album was recorded prior to Zoe Guigueno joining the group on upright bass.

I can’t locate my copy of the group’s previous Rounder album This World Oft Can Be, so I don’t have much to go by except my memory—which is fragile at the best of times. But I recall that album having a more apparent bluegrass foundation than does Della Mae. I do have their debut album I Built This Heart on hand, and the group’s sound has certainly changed over the course of time.

Gone are most obvious elements of bluegrass, a noticeable evolution. Nowhere in the press sheet for the album, or in Ed Helms’ liner notes, is the word ‘bluegrass’ mentioned. They remain, however, a powerhouse outfit, pouring out a loud ‘n’ proud blend of soulful Americana. If the group is happy they are to be applauded for following their muse wherever it takes them.

Much attention has gone to the lead track, “Boston Town,” and Woodsmith’s working-woman’s anthem is certainly worthy of notice; like the finest songs of Maria Dunn, Hazel Dickens, and John McCutcheon, the labour-positive message is wrapped in optimum musical cloth. “Rude Awakening” is an incredible song, and Woodsmith’s voice can’t be contained, although it is completely controlled. Woodsmith and Hartman are the group songwriters, and wrote either together or individually eight of the album’s eleven songs.

Della Mae’s opening trio of songs is as strong a burst as I’ve experienced this year. “Can’t Go Back” rounds out this powerful initial salvo, a song with interesting changes and impressive lyrics.

Hartman takes the lead on “Long Shadow,” a song she co-wrote with Sarah Siskind, a personal favourite. Hartman has a terrific voice, robust with a shade of mystery, and the song is a bit dark in its exploration of creative processes and (maybe?) mental health. Gardner also takes a solitary, rambunctious lead (“Good Blood”) bringing additional diversity to the Della Mae vocal sound.

In addition to “Good Blood,” there are two other (and more familiar) songs covered. “To Ohio,” recognizable perhaps to roots types via Emmylou Harris’s inclusion of the Low Anthem song as a ‘bonus track’ to the deluxe version of Hard Bargain.

Equally impressive is the group’s interpretation of the (too) often recorded “No Expectations.” Although I am sure the world didn’t need yet another roots version of the song, Della Mae’s is darned enjoyable with great slide effects from (I presume) Hartman.

Della Mae is a hard-hitting album for folks who have been hit hard. And from my experience, that is most of us.