“In Style Again” by Jim Ed Brown

Jim Ed Brown
In Style Again
Plowboy
Records
4½ stars (out of 5)

By Larry Stephens

In 1959 I was a kid with a lot of exposure to country music because that was the music—really the only music—my dad loved. But it was at grandma’s house that I first heard “The Three Bells.” I was mesmerized, drawn to the smooth baritone of Jim Ed Brown. For the next fifty-six years he’s remained one of my favorite singers. He, as well as his many contemporaries, disappeared from mainstream “country” radio years ago. But they persevered, still playing dates, maybe moving to Branson, still playing the Opry. And now Jim Ed Brown has a new CD.

“Who gave the world the right to turn the page, and leave me here feeling twice my age?” The title song asks this and many of us feel that way as the decades roll along, but it’s a question that Brown can certainly ask as he saw his career fade from the spotlight. It’s not that his fans don’t still love him, but his fans are feeling the touch of age and the crowds that follow stars like Garth Brooks or Luke Bryan far outnumber the crowds around country stars from the music’s golden era. It’s an introspective question, not maudlin, and it makes a touching song. He’d just like to be “In Style Again.” He’s joined by sister Bonnie on a beautiful number, “When The Sun Says Hello To The Mountain.” Chris Scruggs’ pedal steel underscores this song with a classic melody. And speaking of classic melodies, his longtime singing partner Helen Cornelius joins him on Carl and Pearl Butler‘s “Don’t Let Me Cross Over.”

“Laura (Do You Love Me)” is an easy-flowing love song of a love lost because he’s out traveling the world. There’s a hint of an Irish air in it but it’s truly a country ballad. Brown, who will turn 81 on April 1, 2015, still has that beautiful baritone but his voice shows a few signs of age. At times you can now hear some gravel in his voice as you do on this number, sometimes he has some trouble hitting the notes. There was recent news that he returned to the Grand Ole Opry after a four-months absence being treated for lung cancer. That may have affected his singing some during this recording but, if you can reduce it to numbers, his voice is still 95 percent as good as ever. “Tried and True” is a country number that will take your breath away if you’re a fan of the ’60s sound with a walking bass line. Vince Gill sings backup on this one.

“It’s A Good Life” is the story of a life lived as best a man could while “Older Guy” is a put-down of young guys is favor of the wisdom of age. It has a swing sound that you’ll enjoy, almost inviting you to dance even if you have two left feet. Sharon and Cheryl White join him on “You Again,” another song that looks back across the years but he’ll still choose the love of his life again. “Watching the World Walking By” is another swing song that has a happy note to it.

The backup musicians and singers are all excellent, the arrangements all good. There’s some variety in song styles and my preference would be a narrower focus, more on his ’60s and early ’70s music, but that’s my own prejudice and this selection will probably appeal to a wider range of folks. One of his songs asks, “Am I Still Country?” It has some really good lines comparing a meat loaf boy to a Chinese-food man, but he concludes he’s still country. There’s not much country in country music these days, but Jim Ed Brown’s got it and he’s still country.

“Better than I Deserve” by the Farm Hands

The Farm Hands Bluegrass Quartet
Better than I Deserve
Pinecastle Records
4 stars (out of 5)

By Larry Stephens

The Farm Hands Bluegrass Quartet (not to be confused with the Farmhands Band) are four seasoned veterans who have now been together four years. Daryl Mosley plays bass and sings. He spent ten years with New Tradition, a bluegrass gospel quartet, then ten years with the Osborne Brothers. His composition “He Saw It All” was a #1 hit for the Booth Brothers. Part of his Osborne Brothers tenure included his present bandmate Tim Graves. Graves has been SPBGMA’s Dobro Player of the Year eight times. He also spent time with Wilma Lee Cooper and James Monroe. He has played in several iterations of the band Cherokee with his friend and Farm Hands bandmate Bennie Boling.

Boling is a multi-instrumentalist who plays banjo for the Farm hands. He’s also an accomplished songwriter with songs recorded by Gene Watson and the Oak Ridge Boys. Rounding out the group is guitarist Keith Tew, who has played in Rhonda Vincent’s band and toured with Vassar Clements. His compositions have been recorded by the Lonesome River Band and Lou Reid. This is a lot of talent packed into one band.

Included in this CD are two Boling songs. “Farm Country” is an interesting instrumental with Boling, Graves and guest Jason Roller (fiddle) trading licks. “He’s Got An Answer for Everything” (co-written with Jim McBride) is a gospel number that says what Christians believe. Other gospel numbers are the well known “Over in the Gloryland” and “Streets of Gold,” a beautiful song about the heavenly home of the faithful. Mosley contributes “The Way I Was Raised,” a song about manners and a lifestyle that kids don’t learn as often these days. The band’s harmonies are very good and the musicians know how to support the song without overwhelming the singer.

Mosley also wrote “Better than I Deserve” is an unusual a cappella number that starts out as an solo then adds a variety of percussive sound effects and a background quartet of Mike Reid, Bruce Dees, Lisa Silver, and Nick DeStefano. Reid is a talented singer/songwriter who also had a career in pro football. His CD from several years back is still one of my favorites; twenty-one of his compositions have gone to #1 on the country and pop charts. Dees has had a long career as a session player and enjoyed a long relationship with Ronnie Milsap, including singing backup on one of my favorites, “Lost In The Fifties Tonight.” DeStefano has worked with a number of stars including Kathy Mattea and Lisa Silver has enjoyed a long Nashville career. That’s an impressive backup quartet. The song isn’t mainstream bluegrass but it’s good listening.

Tew adds one song, “Mama Prayed and Daddy Plowed,” a song about a hard but good life in the country, and they pick up three good country numbers: Jerry Reed’s “Talk About the Good Times,” Merle Haggard’s “The Way It Was in ’51” and a Randy Travis hit, “From Your Knees,” a song about a man who has reached the end of the line in love, a bed he made all on his own.

This is another very good CD from the Farm Hands, full of good songs and great picking.

“Better Than Blue” by the Trinity River Band

The Trinity River Band
Better Than Blue
Orange Blossom Records
4 stars (out of 5)

By Larry Stephens

They say you can’t judge a book by its cover and that’s apt for this CD, whose cover art doesn’t let on that this is a family band—parents Mike and Lisa Harris with children Sarah, Joshua, and Brianna—and one loaded with talent. Make no mistake, though—there’s good bluegrass inside.

The title song was co-written by Larry Cordle and is a good love-gone-bad bluegrass number. Sarah Harris has an excellent voice and plays a mean mandolin. She also sings lead on “Faithless Heart,” co-written by Carl Jackson and previously recorded by Mountain Heart. The harmony singing sounds great, as you might expect from a family band.

Brianna Harris is the fiddle player and sings lead on “Daddy’s Hands,” a Top 10 country hit composed and recorded by Holly Dunn. She is a good singer, just not quite as strong as her sister, Sarah. There is a murder song, of course. “Steel and Blood” was written and performed by Mike Harris and it’s a good ‘un. Lizzy is a victim with a gunslinger in her past. He comes looking and tries to take her back but she solves that with a knife. That sounds like justifiable homicide to me but the jury sends her to a grave. Not everyone likes a death-and-violence song but they are a constant thread in bluegrass and I’ll be surprised if this one doesn’t live on around the campfires.

The band has a deft touch with love songs like “I’ll Love You Just the Same.” Joshua Harris has some haunting Dobro lines and their arrangement has Lisa Harris laying out and then back in with the bass. I really enjoy songs with thoughtful arrangements and they’re doing a good job of it. Joshua shows his skill with the banjo as the band rips through “Mystery Train.” This number has been around a long time and many people will best remember Elvis Presley’s version.

They include another country hit with Mark Wills‘ “Jacob’s Ladder,” the lead sung by Joshua Harris. It’s obvious talent runs deep in this family with their singing and picking – and song writing. Sarah Harris composed “My Heart Will Find Its Way To You” and “Pure Poison,” a song with more drive than a Mack truck. Mike Harris also contributes a hot instrumental, “Barefoot Breakdown,” which shows off his guitar skills as well as stretching the playing muscles of the rest of the group. These are all front-row musicians.

Also included is a traditional Irish number, “Willie and Mary,” that shows they can step outside the bluegrass/country mold.

This Florida-based band has only been touring since 2011 but they are going to be a force in this music. This is a great CD that will find it’s way into my player over and over.

“If I Had a Boat” by Jimmy Gaudreau & Moondi Klein

Jimmy Gaudreau & Moondi Klein
If I Had a Boat
Rebel Records
4 stars (out of 5)

By Larry Stephens

The word morph—meaning to change form or character—is usually used to describe the transformation of images. If you’re a fan of the hit series Grimm, you’ve seen people that appear like you or me “volga” into something out of Grimm’s fairy tales. I think you can also use morph to describe songs that change in character and delivery and that is an important part of today’s bluegrass and acoustic music.

Jimmie Rodgers predated country and bluegrass as those terms became defined in the 1940s and ’50s. A number of country artists from that time, such as Ernest Tubb, credit Rodgers as a major influence. One of his songs from 1928 was “Treasures Untold.” It’s classic Rodgers, 120 beats per minute, easy moving, no adornment. Gaudreau and Klein morph it into more of a swing number, picking up speed and going from 3/4 to 4/4 time. The change doesn’t hurt it, giving it a sound likely better appreciated by today’s audience.

This is not a bluegrass CD. In part it’s because there’s no banjo except for one track, no bass or fiddle. What’s a Dobro? I’ve never felt a song simply can’t be bluegrass without a banjo, but then it’s going to take some other factors to give it that bluegrass touch. Jimmy Gaudreau knows bluegrass but has often ventured into other acoustic fields. He joined the Country Gentlemen, a group loved in bluegrass but often outside the classic Monroe sound, in 1969 and has been part of the New South (JD Crowe), the Tony Rice Unit, Chesapeake and Carolina Star to name just a few bands. He is an excellent mandolin player and a fine singer. Moondi Klein also has a strong bluegrass background. Besides being a bandmate of Gaudreau’s in Chesapeake, he was once a member of the Seldom Scene. Klein’s musical choices have often been in acoustic music outside of bluegrass.

This CD has one track with a banjo (Jens Kruger), “Grassnost.” Composed by Gaudreau, it’s a good, upbeat instrumental with Gaudreau playing mandolin and Klein adding guitar and piano. The piano intro is slow, moody, and well-done. There’s also a piano (played by Moondi Klein’s father, Howard) on “Waltz For Anaïs,” another Gaudreau composition. Pretty song. “One More Night” (Gaudreau playing mandola, composed by Bob Dylan) is another number that plays well as acoustic music.

James Taylor’s “Bartender’s Blues” is a good fit. Many will associate it with George Jones’ 1978 version. Gordon Lightfoot is an excellent composer and musician with some bluegrass credentials (“Redwood Hill”); his “Did She Mention My Name” is a nice choic here. The title song was composed by Lyle Lovett and makes good folk music. Lauren Klein, Moondi Klein’s daughter, joins them on the vocals. A bit of an unusual choice is “Don’t Crawfish On Me, Baby.” Written by “Great” Bill and Martha Jo Emerson, it features some fine instrumental work but is a bit more refined than Jones’ version.

“Where The Soul of Man Never Dies” features their excellent harmony singing and equally excellent instrumental work, but you have to enjoy the minimalist instrumentation of just guitar and mandolin. The two-instrument approach also works well on “Bury Me Beneath the Willow.”

This is an acoustic music CD by two good singers and excellent instrumentalists. Especially because of Gaudreau’s past associations with bluegrass, a casual glance at the CD may lead to a bluegrass association but it isn’t that nor does it make pretensions to be bluegrass. It’s music you can appreciate, especially if you enjoy a spare instrumental approach.

“Forty Years Old” by the Crowe Brothers

Crowe Brothers
Forty Years Old
Mountain Fever Records

4 stars (out of 5)

By Larry Stephens

Forty years and still going strong—that’s the written message from the Crowe Brothers and their new CD is ample support for that. An interesting side note is how they see their music. When I hear their name I think “bluegrass,” but their web page shows they are bluegrass and traditional country artists with Americana and acoustic roots thrown in. A lot of bluegrass acts (like J.D. Crowe) include(d) classic country in their acts. Look at the composers and you’ll see Haggard and Tom T and Dixie Hall (although the latter write pure bluegrass, too, including “I’ve Got the Moon On My Side” on this CD). Acoustic roots and Americana are (in my opinion) catch-all categories and old-time is in that mix. “Angeline Baker” could fit into that category as well as a large portion of Doc Watson’s work. It’s a good mix and gives them wiggle room in case purists want to argue about what’s bluegrass and what isn’t.

The vocals are primarily Josh and Wayne Crowe, and their lead vocals and brother harmonies are strong and clear, firmly in the tradition of so many other similar duos in country and bluegrass history. How well you like (or don’t) singing or picking is a personal choice. I’ve heard people shouting “yeah” for an act that I wouldn’t cross the road to see (but didn’t manage to get out of my chair to escape). Some acts I like are panned by some of my friends. Even so, it’s hard to imagine a large chunk of middle-of-the-road bluegrass fans not enjoying their work, so it seems odd they only have a dozen recording projects over those forty years until you look at their history. They started playing music with their dad (Junior Crowe) then, in 1975, teamed with veteran Maggie Valley performer Raymond Fairchild. Wayne left the road in 1990 while Josh continued to perform, then Wayne rejoined Josh in 2005.

Gospel music is an important part of their act. Two of their CDs (“Jesus is Coming” and “The Gospel Way”) are gospel CDs and two tracks on this CD are gospel. Wayne Crowe penned “Where Will You Be,” the only track featuring Brian Blaylock singing baritone. Blaylock plays mandolin, lead guitar and a Weissenborn lap steel. They also include “Someday My Ship Will Sail,” a song that’s been around for some time.

Several of the tracks have country music connections. “Angel Mother” is much like many “mother” songs heard in bluegrass (Jim and Jesse recorded it) and old-time music, but this was written by Cindy Walker, best known as a country music composer. Songs that every classic country fan will recognize include an old Buck Owens hit, “Excuse Me, I Think I’ve Got a Heartache,” Leon Payne’s “Lost Highway” (often associated with Hank Williams) and Hank Locklin’s “Send Me The Pillow (You Dream On).” Steve Sutton plays banjo on the CD and this last track is one he plays Dojo on.

“Two Feet On The Floor” is a hard-driving song with the message to just get up and get going with whatever you want to accomplish. “Don’t Let Our Love Die” (not to be confused with the 1951 Everly Brothers’ song by the same name) sounds like it could have been a Louvin Brothers’ duet while “Livin’ In a Mobile Home” is cute take on the Winnebago crowd. The “Green Fields of Erin” is a lilting Irish song featuring David Johnson on strings while Travis Wetzel plays fiddle on several tracks, including the title song (“You Turned Forty Years Old”). This one is especially touching for me because my son turned forty this year. I have no idea where the years went.

This is good music. I’m looking forward to the next time I see them on stage.

Ready for a mystery? This CD credits “Excuse Me …” to James Henry Boxley III and Ricky M. L. Waters while the lyrics at one site add Eric T. Sadler to that list. The song as played by Cake on“B-Sides and Rarities” is clearly the same song as the one recorded by Buck Owens and composed by Owens and Harlan Howard. The liner notes even refer to it as a Buck Owens’ hit. A response from the record company tells me their researcher found three sets of writers claiming rights to the song. This sounds like a mystery that won’t ever be solved.

“The Legendary J. E. Mainer” by J. E. Mainer with Red Smiley & the Blue Grass Cut-Ups


J. E. Mainer with Red Smiley & the Blue Grass Cutups

The Legendary J. E. Mainer
Rural Rhythm Records

3½ stars (out of 5)

By Larry Stephens

Mainer was 70 years old by the time he made this album, released in 1968. He had been on the national music scene for more than four decades and was a well-known personality, playing “gospel, bluegrass, comedy, love ballads, wild mountain fiddle breakdowns and traditional folk and country blues.” Mainer and Smiley were both North Carolina natives. Mainer died June 12, 1972, just six months before Smiley passed.

The pairing of Mainer and Smiley was likely one of convenience and marketing aptitude. Though some gave Mainer’s music a bluegrass label, what you’ll hear is more old-time or roots music. It’s not likely to be of interest to people only interested in the music of bluegrass, but those who want to know the history of the music will be drawn to it. Bluegrass wasn’t invented from some vacuum by Bill Monroe; it was a refinement of music that was played for more than a hundred years in the mountains and frontier settlements. Looking down the list of cuts you won’t find many that are played on the bluegrass stages today. “Arkansas Traveler” is familiar as a fiddle tune, but Mainer does it as a comedy routine, as it was done in vaudeville. It was also the Arkansas state song (with lyrics written by a committee) at one time. “Shady Grove” has been recorded over 100 times by such diverse artists as Patty Loveless, Hot Rize, Taj Mahal and, of course, Doc Watson. Mainer’s version is a good listen, featuring a juice harp —something you don’t hear on a recording every day. Mainer does “Home Sweet Home” with a harmonica and many of us will remember “Shortnin’ Bread,” though you may not know it was composed by James Whitcomb Riley.

This CD, while a studio recording, is more like the recording of a live show. Songs may start with a dialogue between Mainer and someone in the band, like Gene Burris on “Shortnin’ Bread.” The cuts aren’t arrangements, there’s no intricate interweaving of parts. The music starts, showcases Mainer, and it ends. The quality of the music is generally good, though some of the fiddle playing (probably Mainer rather than Tater Tate) gives an understanding of “sawing” on the strings. The enjoyment of music is in the ear of the beholder (consider the very basic sound of the Tennessee Two) and people enjoyed the comedy as much as the music. Other groups employed these simple, vaudevillian comedy routines (Reno & Smiley, the Stanley Brothers’ “Model T” routine) though you don’t see them much today.

Several of the numbers are borrowed from other performers who, in turn, adapted them from old songs. “Devilish Mary” was a favorite of the Skillet Lickers and “Papa’s Billy Goat” is associated with Fiddlin’ John Carson. One reason why this CD is important is you’re not going to find many modern recordings of these links to the past, songs like “I Had An Old Grey Mare,” “Old Blind Horse” or “Eleven Cents Cotton.”

If you’re interested in old-time music, in music history, or searching for hidden gems to arrange to your liking, this CD should be in your collection.

“Red Smiley and the Blue Grass Cut-Ups: Volume One and Volume Two” by Red Smiley and the Blue Grass Cut-Ups

Red Smiley and the Blue Grass Cut-Ups
Red Smiley and the Bluegrass Cut-Ups: Volume One and Volume Two
Rural Rhythm Records

4 stars (out of 5)

By Larry Stephens

“Bluegrass” is indefinable because it’s a notion in your mind. Some will insist it must be something Bill Monroe would have played. Others prefer the Old Crow Medicine Show or newgrass pioneers like Sam Bush (who does a fine job on traditional numbers, too). Some will say it must have a banjo to be bluegrass, or it needs that “high, lonesome” sound. It can’t have drums, some say, while others scoff amplified instruments. Most of us take a middle-of-the-road approach and simply say, “I know it when I hear it,” which, of course, does nothing to quell the arguments.

In general, though, the core music is comprised of some combination of banjo, flattop guitar (preferably a Martin), mandolin, fiddle (violins are for highbrow music), resophonic guitar and upright bass. A common compromise is the bass because of its bulk. Bands substitute an acoustic flattop bass, a “stick” bass or a “Fender” bass. Mr. Monroe once had an accordion, though that’s as rare as hen’s teeth. Variations of core instruments may include a viola (in the case of Nancy Blake, a cello) or a mandola (IIIrd Tyme Out’s Wayne Benson) and sometimes a snare drum, steel guitar or piano.

It’s the music more than the songs that make it bluegrass. As we look at the songs included in these two CDs, songs that are cross-genre will be noted but I believe few will argue their inclusion in bluegrass. Harmony singing, sometimes two part, sometimes three part and, more rarely, four part, is very important and the harmony on these tracks is beautiful.

Bill Monroe is heralded as the father of bluegrass and Jimmy Martin declared himself to be king of bluegrass, but there is a sizable list of people who were there in the early years and helped shape the music. Arthur “Red” Smiley appeared on the scene at the age of twenty-one. In 1949 he joined Don Reno, fresh from a stint as a Blue Grass Boy, in the Tennessee Buddies of Tommy Magness then Reno & Smiley went on their own in 1951. They were a popular pairing and you can still see parts of their TV shows on Ronnie Reno’s show on RFD-TV (featuring a very young Ronnie Reno on mandolin and Mac Magaha – later Porter Wagoner’s fiddle player). Reno & Smiley made great music but disagreement over their touring schedule lead to a split in late 1964.

Smiley and his band, the Blue Grass Cut-Ups, made three recordings for Rural Rhythm before his TV show was cancelled in 1968. Smiley briefly retired, then joined Reno and Bill Harrell in 1970. Red Smiley died January, 2, 1972 at the age of 47.

These two separately released Red Smiley CDs (how could you buy just one?) have a slew of titles most fans will recognize. “Summertime Is Past and Gone,” a Monroe number, features excellent bluegrass harmony. “Roll On Buddy” has been recorded by countless bands through the years. Billy Edwards has a hot hand on the banjo on the recordings. Tater Tate is playing fiddle and tears into a short (1:09) “Big Sandy.” and a hot “Black Eyed Susan.” “Wreck of the Old No. 9″ isn’t as widely played as “Wreck of the Old 97″ but is still recognized by older fans. “Take This Hammer” is associated by many with the folk music movement but was made popular long before that by Huddie “Leadbelly” Leadbetter. “900 Miles” is another old song that is often associated with it’s Folk renditions. “Darling Corey” was made popular by the Monroe Brothers but it’s origin dates well before then and no one knows for sure where it came from.

Volume One’s gospel numbers are still popular today. “Working On A Building” and “Somebody Touched Me” are heard most often but “Something Got Hold of Me” is still heard in bluegrass circles. “Tupelo County Jail” may be most familiar to many as a Webb Pierce or Mel Tillis recording. (Coincidentally, there is an insight into the music business connected to this song. The video linked above includes an introduction to the song by Webb Pierce. He attributes the song to Mel Tillis. On another site you’ll see the song attributed to Tillis and Pierce and the image of the 45 r.p.m. record clearly shows both names. It’s likely Pierce followed a fairly common practice of recording the song only if he got partial writer’s credit.)

Other musicians on these recordings include John Palmer playing bass and Gene Burris/Burrows playing mandolin (which you hear little of) and guitar. Smiley plays guitar, also.

“In The Pines” has crossed genres several times and is heard on a regular basis at bluegrass shows today. “Silver Bells,” a number I’ve heard on guitar, is played here with a banjo-fiddle lead. The last time I heard “Little Birdie” was a couple of years ago on Dr. Ralph Stanley’s show. “Oh! Monah” has an interesting pedigree as a pop song being played in bluegrass. Listening to the intro to Ted Weem’s version, you have to wonder how this could ever translate to bluegrass. The lyrics give a clue but still it’s evidence of the importance of the music making the bluegrass.

“Shady Grove” has been around about forever. Smiley’s version is played at breakneck speed and my preference is Doc Watson’s version. This is one of those songs that has countless versions floating around. “Fallen Leaf,” on the other hand, was a new one for me. A 1952 recording from the John Quincy World Folklore Collection is another example of a genre-jumping number rearranged for bluegrass.

Take a break, let your ears rest, then drop in Volume Two.

The Cut-Ups included several gospel numbers that you’ll hear over and over at bluegrass shows. “Drifting Too Far From the Shore,” “Take Me In the Lifeboat,” “I’ll Be No Stranger There,” (and you’ll hear some mandolin on this one) and “A Beautiful Life” are all familiar songs. Some may remember “The Pale Horse and His Rider,” a song co-written by Walter Bailes and recorded by Hank Williams and Roy Acuff. Williams also recorded “Thirty Pieces of Silver,” a popular song a few decades ago. Listen to the melody and you’ll be reminded of another popular song. “The Man of Galilee” is less known, at least today. “Living the Right Life Now” was recorded around 1961 by Molly O’Day with more of an old-time sound.

Another popular theme in bluegrass is death, sometimes with violence. The death of a child is recorded with “Budded On Earth To Bloom In Heaven.” For all you eclectic music collectors, this is the version recorded by Martha Carson, not Freaky Chakra’s version. Jimmie Davis co-wrote a song Bill Monroe recorded and is remembered by fans, “Plant Some Flowers By My Grave.” This is another example of very good lead singing by Smiley along with good harmony from Tate and Burris/Burrows. These CDs have value for the fan who has been around some years, good singing and good picking, but should not be disregarded by newer fans of bluegrass. Smiley wasn’t breaking new ground with these recordings but they were a part of marking the trail for traditional bluegrass.

It’s a rare festival that doesn’t feature at least one rendition of “Katy Hill.” “Banks of the Ohio,” a popular murder ballad has been recorded by such diverse talents as Dolly Parton, Joan Baez, Olivia Newton-John and a host of others, while Willie kills Molly in “Little Glass of Wine.” None of them have anything on Smiley’s version. “I’m Just Here To Get My Baby Out of Jail,” “It’s Raining Here This Morning” and “Prisoner’s Dream” all touch on another familar theme, jail time.

“Little Darling Pal of Man,” a Carter Family number, is presented here as an instrumental and, for this pair of CDs, the rare track that should probably have been left off. It features a couple of bass breaks played enthusiastically but with questionable intonation. After the break it seems like the band hasn’t figured out what to do with the banjo jumping in while the rest must be having a cup of coffee for a measure or so. Oh, well, they weren’t perfect. “Prosperity Special,” a 1:02 quickie is a better number that traces back to Bob Wills. Rounding out the CD are “Baby Girl” and the lament “Ain’t Nobondy Gonna Miss Me When I’m Gone.”

Red Smiley was a first-generation pioneer in bluegrass, coming on the scene a handful of years after Bill Monroe. It would be a shame if he disappears from the collective bluegrass psyche as the years march by and older fans are no longer here to jostle our memories. Taken one by one this collection doesn’t offer the very best of his work—the cuts are too abbreviated, there’s too much of a feeling that Uncle Jim O’Neal was looking for songs to memorialize rather than putting together an instrument for Smiley and his band. But Smiley did a good job with what he was given and this is a rare opportunity to buy a collection of his music. If you love traditional bluegrass you should be listening to these CDs.