“In the Shadows” by New Outlook

New Outlook
In The Shadows
self-released
4 stars (out of 5)

By Larry Stephens

Bluegrass and gospel music have always gone hand–in–hand, from Bill Monroe’s The Gospel Spirit, with such great songs as “Get Down On Your Knees and Pray” and “I Am a Pilgrim,” to current masters such as Paul Williams. New Outlook, a midwestern regional band based in Ohio, joins the gospel field with an impressive CD.

Early pioneers in country music, with many of their songs now standards in bluegrass, the Bailes Brothers penned and recorded songs in the ’40s and ’50s. One of the numbers, composed in 1942 and based on a message Walter Bailes heard in 1937, recorded innumerable times, is “Dust On The Bible.”

There are several other oft-recorded songs on this CD, so you may wonder why you should listen to yet another version. New Outlook’s take on “Dust On The Bible” is a Charmin™ version, softer and gentler than many bluegrass versions I’ve heard. Husband–and–wife team Brad and Lori Lambert are the vocalists along with Caleb Daughtery. They feature great harmony singing and offer a good alternative to the country stylings of Hank Williams and Kitty Wells or the southern gospel style of the Chuckwagon Gang. Is it worthwhile listening to yet another version of “Dust” and these other songs? In this case, definitely.

They go back for versions of “Will He Wait A Little Longer,” a Stanley Brothers number and Dottie Rambo’s great song, “If That Isn’t Love.” “Beautiful Altar of Prayer” compares very well to Doyle Lawson’s version with Jamie Dailey singing lead, and that’s a tough act to follow. Other songs from the past include the old hymn “Pass Me Not (O Gentle Savior),” a banjo–driven version “Cryin’ Holy Unto The Lord” and “Are You Building On The Rock.”

Additional musicians are Dave Morrison on Dobro, Dewayne Guffey on mandolin, and Dave Johnson on fiddle and Dobro. It was engineered by Dan Ward, something not usually mentioned in a review but Ward turns in a good performance singing bass on “I’ve A Mansion Over In Glory.” It’s too bad they didn’t use him on more tracks.

Included are some original compositions by Brad Lambert, including the title track, “Half Remains Untold,” and “See You In The Morning,” which will bring some tears. It’s the story of a couple in love but the man dies. She’s left remembering him saying, “I’ll see you in the morning or I’ll see you in glory.”

There’s not a throwaway track on this CD. It’s going in my stack of play–these–often.

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“In Our Own Words” by Bluegrass Express

Bluegrass Express
In Our Own Words
Plum River Records
3½ 
stars (out of 5)

By Larry Stephens

Founded by patriarch, guitarist, and vocalist Gary Underwood and his son (bass, guitar, vocals) Greg Underwood, Bluegrass Express is a (mostly) family band that’s now has added third generation member Jacob Underwood (banjo, mandolin, guitar, fiddle, vocals) and mandolinist Andy Hatfield. They are joined on this CD by Tim Crouch (fiddle), Sierra Hull (mandolin on “I’ll Be Gone”) and Bethany Burie (high baritone on “The Key To Heaven”).

Many have the opinion that some of the best harmony singing you’ll hear comes from family bands, and, and that holds true here. Also, all songs on this disc are Underwood family originals—a laudable effort when so many projects feature well-worn material—and the results vary from very good to not quite so good.

“I’ll Be Gone” is a pretty number about love problems, always a favorite subject for composers. It’s a countrygrass number—one that fits either a bluegrass or a classic country stage–and features Greg Underwood as lead singer. He has a good voice and is pleasant to hear singing. It features the banjo as a background instrument through much of the song and, for my taste, a bit more ingenuity would be welcomed, switching the instruments for some variation. I suppose it’s just a personal thing, but I just don’t much like an electric bass in bluegrass. The type of bass isn’t specified but it sounds to me like an electric flat-top. Decibel for decibel, note for note, I would enjoy an upright a lot more.

Gary Underwood sings lead on “It’s Raining Outside,” a slow, swinging, moody number with twin fiddles and nice breaks by the instrumentalists. This is a great number. He also sings lead on “Sinner Hear Me.” It has some swing to it, an interesting chord progression into some minor chords. You don’t hear many gospel swing numbers but they pull this one off nicely. Burie co-wrote the song she sings harmony on, “The Key To Heaven.” This is a good song but she’s low in the mix, mostly a function of not dialing back the lead on the chorus. That’s too bad for she’s a good singer.

“There’ll Never Be Another You” is a fairly typical love–is–gone song—it’s not easy to come up with a fresh take on one of the oldest themes around. “Down In Tennessee” reflects on how much the singer loves Tennessee even though he has to be on the road. This is a good uptempo number and shows off the talents of the pickers.

Getting back to countrygrass, “New True Love” is a good number with a walking bass line. If you like country music you’ll love it, but it may circle people back to the “too much country in bluegrass” argument. I don’t think bluegrass is in danger of losing its identity, of becoming the new real country music with Jimmy Martin’s style of music lost in the shuffle. “Baby’s Gone For Good” is another heartbreaker with a more interesting arrangement, saving most of the instruments to come in after a few bars. It’s a good song, but you may re-start it a time or two as it has an odd, 2–beat pickup start.

This is a good CD, well worth a listen by anyone who enjoys countrygrass.

“Down on the Farm” by the Stevens Family Bluegrass Band

The Stevens Family Bluegrass Band
Down On The Farm
Mountain Fever Records
4 stars (out of 5)

By Larry Stephens

Family bands—parents and kids—often must suffer comparison to the Cherryholmes clan since their remarkable success. The Stevens Family Band is the Cherryholmes meets Duck Dynasty. When they’re at home JW (the dad) enjoys coon hunting (a favorite of Jimmy Martin and myself) and running his trapline with Luke, number seven of ten children. Four (Sissy, 1974), seven (Luke), eight? (Ben, 1983), nine (Sam, 1990) and ten (Tommy, 1997) join Dad and Mom (Nancy) to make up the band.

Given that JW Stevens is a minister it’s not surprising that the CD is heavy with spiritual songs. “City of Gold” (Nancy Stevens singing lead) is a good, upbeat gospel number. The vocalists are all good (Sissy and Luke Stevens singing harmony) and it’s a good arrangement. She also sings lead on “How Great Thou Art,” done a cappella, showing their strong harmony singing with children Luke, Sissy and Ben joining in, though Ben struggles a bit with the lower registers of the bass part. Her other lead number is shown here as “Search The Book” by Jerry Golf (actual title, “Please Search the Book Again” by Jerry Goff) and it’s a great gospel number. They include a drop to a minor as a transition from the 1 chord to the 4 chord and it’s a perfect touch. You can hear different arrangements on the web and this is the best I’ve heard.

JW Stevens sings lead on one number with Nancy singing harmony. “Old Fashion Love” is secular, a description (in their own words) of their relationship. This makes a beautiful love song.

The title song was penned by Sissy Stevens and is a picture of the family. Songs like this often fail because the lyrics or melody just can’t make the grade—too cute, too simplistic, too focused on the writer—but this is a vary good number and should have wide appeal to other bands looking for a good song. Brother Luke penned “She’s The One,” a story about being on the road and leaving loved ones behind. It’s a good, hard driving number and is especially interesting because it’s a display of the instrumental abilities of the band. They tend to be laid back on most of their numbers, providing good support but no sparkling breaks. This track leaves no doubts about them as pickers.

“A Living Prayer” (Ron Block) is a powerful gospel number and Sissy, Luke and Ben provide powerful harmony to drive it. The late Randall Hylton wrote “Where Rainbows Touch Down,” an illustration of his songwriting abilities and yet another beautiful harmony number.

This is a CD that may get overlooked in a crowded marketplace but it is definitely worth a listen. You’ll be glad you took the time.

“Memory of a Mountain” by Ma Crow and the Lady Slippers

Ma Crow and the Lady Slippers
Memory Of a Mountain
self-released

3½ stars (out of 5)

By Larry Stephens

The Lady Slippers are unusual (but not unique) as an all-female bluegrass band. They’re from Cincinnati and have a solid regional reputation. A look at their upcoming events shows them working in Ohio and several surrounding states. The biographical information for the members (Ma Crow, Trina Emig, Margie Drees, Vicki Abbott) lists a number of bands they’ve performed in (Chicken Deluxe, Jennie Lyn Band, Dr. Twang and the Stainless Steel) but you may not recognize the names.

They describe their music as bluegrass/American/mountain, and it indeed sounds like some combination of bluegrass and old-timey. Drees penned three of the numbers. “Liberty Hill” is a song about trying to find liberty from oppression and fits the bluegrass mold. Ma Crow sings lead on all the vocal tracks and here she’s joined by Drees singing harmony. Their playing is good as are the harmonies. The title song has a very pretty melody and tells a sad story of the Appalachians: mining has destroyed many mountains and this is a story of memories before mining took away the beauty. Emig has a melodic banjo break that will catch your attention. Staying with the mountain theme, the third Drees number is “Daughter of the Mountain” and is more-or-less the story of Ma Crow’s mother, Nadine. All good tracks, very close to classical bluegrass with a touch of old-time feeling.

Ma Crow as a lead singer fares well but, as always, personal taste has to be considered. Her singing voice is much closer to Hazel Dickens than to the standard crop of modern bluegrass female vocalists. Production qualities are good, not surprising since the CD was mixed and mastered by Ron Stewart. Stewart, a good singer with a husky, smoker’s voice, makes a gigantic vocal contribution by adding a couple of grunts during “Get Up John.” Emig plays a good mandolin on this number and Drees plays fiddle. The fiddle playing is adequate but won’t blow you away.

“Shady Grove” and “Ages and Ages Ago” are familiar numbers. “Time Is Winding Up” is a public domain gospel number presented in an old-time, unadorned way that you might not recognize if you’ve heard Helen Millers version. I’ll stick with the acoustic version. “Going To The West” is another old number and features some of their best harmony singing, and they have a good presentation of “Montana Cowboy,” done by Emmylou Harris as “Montana Cowgirl.”

The one song that simply loses me is “No Mermaid.” This is a Sinéad Lohan song, covered by Joan Baez and sounds out of place in this album setting.

The picking is good, though none of it will blow away your toupee. The singing is all good as long as you like this style of unadorned melody. Given the status Hazel Dickens in this music, a lot of people do. It’s worth a listen.

 

“Randy Cook & Commonwealth Bluegrass Band” by Randy Cook & Commonwealth Bluegrass Band

Randy Cook & Commonwealth Bluegrass Band
Randy Cook & Commonwealth Bluegrass Band
Pulley Tunes
3½ stars (out of 5)

By Larry Stephens

A lot of good music is made in bluegrass by bands that don’t have national recognition. Listen to Commonwealth Bluegrass on “Dry Run Creek,” a number best identified with the Seldom Scene’s 1995 Dream Scene album. They get it right, with an eerie feel by playing it in a minor chord and the high tenor’s slide up on the bridge. They do a good job on “Ashes of Love,” the old Johnnie & Jack song that’s been recorded and sung so many times the words are worn out. Randy Cook sings on-key and keeps time and that’s the basic requirements for bluegrass and country, and on-key isn’t always accomplished by artists. (That’s not a dig at bluegrass and country singers. Jim Nabors has great technical vocal abilities but I can’t hear him doing “Dark Hollow.”)

The numbers written by banjo player Malcolm Pulley are good bluegrass, a bit in the Jimmy Martin do-it-simple vein. “Living In The Country” is a description of life in the country, from watermelon to corn likker. Mike Sharp has a great Dobro break on this track. “Wearing My Heart Out On My Sleeve,” featuring fiddle by Ron Stewart, is a love song that Martin might have sung. The lyrics don’t challenge your imagination much as they strive to rhyme but it’s bluegrass that the crowds will enjoy. Pulley has some very good banjo breaks scattered throughout the CD.

Lance Seal is a competent bass players but he’s playing a stick bass (based on one of their videos) and you can make those sound like a Fender or a Kay. His sounds like a Fender. I’m not a purist but I don’t like the Fender sound in bluegrass. Jason Owen does good guitar work on “The Door Is Always Open,” the Dave & Sugar song that went to #1 on the country charts. This is yet another country song that plays well in bluegrass. Waylon Jennings put the song out in 1975 but his release of “Rose In Paradise” was several degrees more popular and Commonwealth Bluegrass has a good version on this CD. Either in the studio or the mix they should have done some filtering on this song as the S’s are sibilant, but it’s still enjoyable and a good arrangement.

Guitarist Jason Owen penned “He Wants To Be A Daddy Now,” a touching song about a man who abandoned his daughter then later has a change of heart. If you like broken love songs you’ll like “Getting Over You,” or perhaps a number that’s traditional like “Molly Rose” written by Lynnwood Lunsford, and if you’ve never heard “Purple Valley Blues” you’re in for a treat.

“Steve Martin and the Steep Canyon Rangers featuring Edie Brickell” by Steve Martin

Steve Martin
Steve Martin and the Steep Canyon Rangers featuring Edie Brickell
Rounder Records

4 stars (out of 5)

By Larry Stephens

The Steep Canyon Rangers play good music. “Knob Creek” is as pretty a bluegrass tune as I’ve ever heard. Their album Nobody Knows You won the 2013 Grammy for Best Bluegrass Album and 2012′s Rare Bird Alert was nominated for the same award. In 2011 the Rangers and Steve Martin won Entertainers of the year at IBMA. Pretty heady stuff.

I saw the Rangers in Georgia a few years ago. I liked the show. I like Steve Martin. I haven’t heard much of them together because I don’t often listen to radio. My go-to-work car doesn’t have satellite radio and my wife likes the ’60′s channel in her car. I wasn’t sure what to expect as I started the CD and that’s why you’re reading these reviews, trying to decide if a CD is worth your money.

This package includes a DVD (the show was taped live) and the DVD tells a better story than the CD. The DVD has two additional tracks and includes the stage banter, audience shots, and gives you better context than the CD. From the start it’s clear that this is the Steve Martin show. He’s the front man, he tells the jokes and plays or trades lead on the banjo. When you visit SCR’s website it becomes clear this is a collaboration but they are in a supporting role with Martin (50 shows a year) while keeping their identity as they perform separate from him. Other clues about what to expect are subtle: the website listing shows SCR last after Martin and Edie Brickell and SCR’s members aren’t named in the package.

The SCR aren’t just window dressing, though. The first number is “Katie Mae,” a hot one that whets your bluegrass appetite. Despite not being familiar with it I figured it was adapted from Flatt & Scruggs or someone like them, but the only other number with that name I can find is a Grateful Dead piece adapted from the blues and they aren’t even cousins. It turns out it was composed by Brickell. Other than the music on “Atheists Don’t Have No Songs” (by SCR members) the songs all list Martin or Brickell as composer or co-composer and SCR isn’t involved. “Katie Mae” on the DVD shows Martin playing lead banjo, trading off in spots with Graham Sharp. Martin’s a good banjo player and enjoys carrying the bluegrass message in his TV appearances.

One of Martin’s funny lines is at 11:00 on the DVD: “I know what you’re thinking: There’s Steve Martin, just another Hollywood dilettante hitching a ride on the bluegrass gravy train.” It’s hard to tell from shots of the audience how many of them follow bluegrass—I suspect a substantial number were there for the Steve Martin show—but they liked that line while veteran bluegrassers really understand the punch line. “Jubilation Day” is one of his comedy song routines (a breaking up story from a “whew, it’s over perspective”) and the bass player takes an impressive break on the number. “The Crow” is a good instrumental bluegrass number and is the title track of Martin’s 2009 album that won the Grammy Award for Best Bluegrass Album at the 52nd Grammy Awards.

Edie Brickell is associated with the New Bohemians and the Gaddabouts, and is now closely allied with Martin and his bluegrass shows. She comes in at 26:40 (DVD) to sing “Get Along Stray Dog.” This is more old-timey than anything else. The music takes a turn at this point to some sort of fusion between old-time, folk, and Irish jig with her singing somewhere in Dylan’s camp, breathy with a rising and falling inflection. There’s an electric guitar and drums and a keyboard have been added. The audience liked it. Bill Monroe fans probably not so much. It’s unclear if she has a genre in mind. I suspect she’s following her own muse: infused with acoustic music but still very influenced by rock/pop. If you listen to “Love Like We Do” (New Bohemians) you’ll find a lot of similarities with her work on this CD.

“Stand and Deliver” is the SCR (Martin and Brickell are off stage) plus some percussion doing bluegrass on the progressive side. They follow that with “Hunger,” a blues number with an electric guitar. Not bluegrass but I liked the song and the arrangement.

There’s far too much material to cover it all, especially on the DVD. Some other highlights are “Pretty Little One,” close to a bluegrass story song but it also has an old-time sound. The verses tend to have a repetitious melody and go on and on with both murder and comedy woven into the lyrics. Martin sings lead with Brickell joining in now and then. Next “Auden’s Train” kicks off, credited to Martin and Nicky Sanders. That may confuse you because it’s the “Orange Blossom Special” with lyrics borrowed from W H Auden’s Calypso.

Woody Platt (guitar) sings lead on “Daddy Played The Banjo,” a Martin number that makes good bluegrass. “Atheists Don’t Have No Songs” isn’t politically correct, but it’s funny. Maybe we worry too much about being politically correct.

Bluegrass fans attend a performance or buy a CD expecting the music to be the show. Some of the best bluegrass bands out there don’t try too hard at showmanship. When you buy this package expect the Steve Martin show with music added. You’ll enjoy the DVD if you’re a Steve Martin fan because he puts on a good show. If you’re considering the CD expecting more “Knob Creek” bluegrass, you’ll be a little disappointed.

“The Day We Learn To Fly” by Volume 5

Volume 5
The Day We Learn To Fly
Mountain Fever Records
4 stars (out of 5)

By Larry Stephens

Some people listen to gospel music for the message. I have friends who only listen to a local gospel radio station. Some listen for the music. They may be affected by the message but don’t show outward signs of it. Most, at least in bluegrass, listen for both the message and the music. The proof of that is the prevalence of the gospel in bluegrass: most bluegrass CDs have at least one gospel track, and most stage shows include at least one gospel number, no matter how much of a hellraiser the performer(s) may be.

Volume 5 gives us both. Glen Harrell, the fiddle player and singer, toured with Marty Raybon for five years before becoming a part of Volume 5. He’s also a talented songwriter. He and his wife Michelle penned “Miracle Today,” a message to Jesus that says if He could find it in his heart to forgive him there would be a miracle today. That’s a message whispered by many and on the musical side, the Dobro playing of Jeff Partin will reach out and grab you. Partin stays busy with the Dobro, lead guitar, and vocals. An accomplished and experienced musician just into his twenties, he has played and recorded with a number of well-known bluegrass names and has been the Georgia state champion Dobro player five times. As a composer he contributed two tracks to this CD: “When We Are Called To Meet Him” talks about the day we’re called home to heaven, the ultimate goal of all Christians. It’s an upbeat song and, like all their numbers, features their excellent harmonies. One minor thing about the mix on this number—and you may not hear it unless you use headphones—is someone is mixed hard to one side of the mix and sounds out of place in the harmony.

Partin also wrote “What Could I Do,” featuring a traditional banjo kickoff by Patton Wages. Wages has worked with Doyle Lawson and Marty Raybon before joining Volume 5. Rounding out the band is Chris Williamson on bass and Harry Clark on mandolin and harmony vocals. Another outstanding harmonies song and one of the most poignant you’ll hear is “Daddy Doesn’t Pray Anymore” by Chris Stapleton and previously recorded by James King. I lost my dad two decades ago and the words touch me:

Today I followed daddy down to church

Listened to the preacher reads God’s word

We sang his favorite hymn but daddy didn’t make a sound

And this afternoon we’ll lay him in the ground

Not all gospel music is solemn. They shred the landscape with “Get Down And Pray,” which makes a good closer. “Thanks Again” isn’t really gospel but it fits well here. It’s a number by Jim Rushing and sent to mom and dad, thanking them for all their love and help through the years. We don’t always appreciate the sacrifice our parents make until we become parents and begin to understand what being a parent is all about. I’m grateful for my parents and this song is a good reminder to call Mom and tell her that. On a traditional note they offer “Until I Found The Lord,” a number often done as a spiritual but one that fits bluegrass well.

I love bluegrass because so many songs touch me in some way. I expect to ask myself the questions posed in “In The Time That You Gave Me” before “The Day I [We] Learn To Fly.” Good music, touching and thought-provoking gospel messages, they push all the right buttons with this CD.

“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.

“Radio Shows” by Jim & Jesse & the Virginia Boys

Jim & Jesse & the Virginia Boys
Radio Shows
Rural Rhythm Records

4 stars (out of 5)

By Larry Stephens

There was a time when AM radio was rural America’s link to the outside world. I can remember Dad searching for WSM650′s (The Grand Ole Opry), usually a good signal here in southern Indiana but sometimes it faded away. I can remember the Lone Ranger on the radio. At some point in the early ’50s, Dad brought our first TV set home. Color TV was achieved by taping a piece of plastic with rainbow hues onto the screen. We didn’t have “city water” but, by golly, we had TV.

By 1962 indoor plumbing had reached many of us and radio and TV quality were better. The internet was just a nugget in the minds of some scientists. The Virginia Boys were appearing on WBAM in Montgomery Alabama, where these tracks were recorded. This CD lets us “return to those thrilling days of yesteryear,” when Jim & Jesse appeared in a variety of 15-minute radio spots and grainy TV shows.

The CD starts and ends with Jesse McReynolds speaking to us, making this a super-long, twenty-four song radio show. Some of the tracks will be familiar to most of us, some will be heard for the first time by some. Few will not know the Martha White theme song, the tradition now carried on by Rhonda Vincent. A great mandolin number is “Cheyenne,” kicked off here by Jim Buchanan. Another instrumental is the “Beer Barrel Polka”. This number dates back to 1927 and, despite being a polka, has jumped genre like a bunny on steroids. Among those who have recorded it are Liberace, the Andrews Sisters, Bobby Vinton, Billie Holiday and Frankie Yankovic. I’ve played it as part of a country band and as a bluegrass band. Another number that didn’t enjoy that much success, but has been around a while, is the “Snowflake Breakdown”—and don’t forget Bill Monroe’s classic “Bluegrass Breakdown.”

Allen Shelton kicks off the popular “Sitting On Top of the World” on the banjo. This is another song that has crossed many genre lines, often with variations in the lyrics. It’s attributed to two members of the Mississippi Sheiks, a popular country blues group from the ’30′s, but jumped to Western Swing, jazz/blues, and country.

Gospel music has always been an important part of bluegrass music. The radio shows included a number of well known gospel numbers such as “Will There Be Any Stars In My Crown,” “Press On Oh Pilgrim,” featuring Jim McReynolds singing a tenor lead on the chorus, “The Family Who Prays Together,” and “Precious Memories.” Other numbers that should be familiar include “Don’t This Road Look Rough and Rowdy,” a number Flatt & Scruggs made popular in the early ’50′; Webb Pierce’s “How Do You Talk To a Baby,” a solo by Jim McReynolds; one of bluegrass music’s best known murder ballads, “On the Banks of the Ohio;” and the popular “Foggy Mountain Top.” Other band members were Don McHan (guitar) and David Sutherland on bass.

These radio and TV shows were important in bringing bluegrass music to the people. The festivals were yet to come. Bluegrass (and country) were still suffering from the rock-and-roll steamroller and their inclusion in the folk music movement had been helpful, but they still needed a boost and the exposure provided by radio and TV in some parts of the country helped them regain popularity. This CD is a reminder of those days and should be valued for the memories as well as the great music Jim & Jesse made more than a half century ago.