Songs from My Mother’s Hand
4½ stars (out of 5)
By Donald Teplyske
For those born after 1960, Mac Wiseman is little more than a name occasionally encountered when reading the history of popular country music.
Wiseman hasn’t recorded for a major label since 1973, and hasn’t made a country Top 40 chart appearance since a novelty song (“Johnny’s Cash and Charley’s Pride”) in 1969. Even prior to that, he didn’t have the chart presence of many of his contemporaries. Why then does Mac Wiseman remain significant as we move into 2015?
In 1993, Wiseman was inducted as part of the third class of the International Bluegrass Music Association’s Hall of Fame (then called the Hall of Honor) alongside Jim & Jesse McReynolds—ahead of luminaries including the Osborne Brothers, Jimmy Martin, and the Country Gentlemen. “The Voice with a Heart,” certainly one of bluegrass and country music’s most emotive and sentimental singers, Wiseman joined first the Foggy Mountain Boys and then Bill Monroe’s Blue Grass Boys.
Wiseman’s signature song, “Jimmy Brown, the Newsboy,” has been recorded by scores, but it was Wiseman who made it a Top 5 number in 1959. He participated in the folk revival of the 1960s, and has released more albums than can reasonably be counted, including a spectacular set with Del McCoury and Doc Watson in 1998.
On the business side, Wiseman co-founded the Country Music Association, worked in A&R for Dot Records, and has remained a fiercely independent artist within the confines of the country and bluegrass worlds over the past several decades. Nearing his 90th birthday, the Virginia native has most recently been elected to the Country Music Hall of Fame, and is said to have the longest running recording career in history.
Songs From My Mother’s Hand is a truly remarkable album. Not only are the performances enjoyable and heartfelt, but the album’s foundation stretches back some 80-plus years. Within the Wiseman family home, Mac’s mother Ruth would transcribe songs heard on the family’s Victrola radio, collecting them in a series of composition booklets that helped the youngster learn the popular songs of the day. Preserved through his long career, Wiseman hauled the notebooks to Nashville (apparently in a green plastic bag) and used these old transcriptions as the basis for the songs recorded for this album: truly then, these are songs from his mother’s hand.
According to album co-producer Peter Cooper, Wiseman recorded the vocals for this new collection in a single session. Wiseman’s voice remains rich and mellow, although there is no shortage of hints that he isn’t as vocally flexible as he may once have been. No matter such limitations when the execution of these timeless songs is so obviously masterful; Wiseman knows these now classic folk songs by heart, having sung them both as a child and throughout his life. Not every lyric matches the most frequently documented rendition, but such quibbles are inconsequential.
Despite, or perhaps because of, the presence of Nashville instrumental and vocal A-listers, co-producers Thomm Jutz and Cooper have ensured that Wiseman’s singing be the focal point of the recording. Justin Moses (fiddle and vocals), Seirra Hull (mandolin and vocals), Mark Fain (bass), and Jimmy Capps (guitar, reso), along with folks like Alisa Jones Wall (Grandpa Jones’ daughter, hammered dulcimer), Jelly Roll Johnson (harmonica), Cooper (vocals), and Jutz (guitar and vocals) create an instrumental and vocal canvas that is brightened and highlighted by Wiseman’s warm timbre. The effect is that one has been invited into Wiseman’s home to listen to the man, perhaps seated at his mother’s kitchen table, sing these songs within a jam conducted amongst great friends.
The disc package is also top-notch. Created by Latocki Team Creative and Backstage Design, and with excellent liner notes by Cooper and photos from Wiseman’s family collection, it is a beautifully composed offering, worthy of attention when awards for such are considered.
Each song offers something special, with the less frequently encountered songs notable. “Old Rattler,” a timeless song about an old coon dog, is infused with energy from the harmony chorus; Wiseman’s voice reveals his personable chuckle during the final verse. The album’s saddest song, “Answer to Weeping Willow,” is as grim as the more familiar “Bury Me Beneath the Weeping Willow,” while the pure pitiful “Eastbound Train” pulls in as a tight second.
These songs, including “Will There Be Any Stars In My Crown,” “Blue Ridge Mountain Home,” and “Little Redwood Casket” have great meaning to Wiseman, and he communicates their importance in every vocal nuance. That songs composed and performed eighty, a hundred, and several hundreds of years ago remain engrained within our musical vocabulary is a testament to the density of their message, the value of their stories.
That they sound fresh and relevant today is a measure of Mac Wiseman’s talents as a great musical communicator.