“These Tears I’ve Cried” by Steve Scott Country

Steve Scott Country
These Tears I’ve Cried
self-released
3 stars (out of 5)

By Larry Stephens

Here is another good entry in the country-rock field, songs called country by the radio stations and people who buy the records, but sound like rock music. There are any number of rock bands from some decades ago—like Credence Clearwater Revival—that you could plug into the playing of these tracks and no one would miss a beat. In that vein of music, Scott has come up with some good songs (all written by him). The title song is a ballad with the steel guitar the primary lead instrument. A good steel player can reach out and grab your heartstrings and the steel in this song has that sound, it just doesn’t match what he’s singing. He doesn’t touch you with the lyrics.

One issue for me is Scott’s elocution. He breaks out of the soundalike clutch of “country” singers on the radio today but his pronunciation is unusual. It’s not a twang, it sounds more like an affectation but seems to be his normal way of singing. It takes some getting used to before it stops stealing your attention from the song.

“Thoughts On Fire” is a love song that has some nice touches with an easy beat on a flattop guitar and some steel and fiddle in the background. It lapses into country-rock mode on every verse, though, with a wall of sound that makes it hard to sort out the background instruments. The music follows the country-rock formula with a bit of diversity in the kickoff then a lot of licks strung together through the rest of the song. It would be interesting to hear a country record with the instruments having space in each song, playing some creative fills and lead breaks that are more than just bending strings and making a lot of noise.

“Geronimo (You’ve Got Me Wonderin’)”has an unusual kickoff. Scott sounds like he’s down in a well doing some swamp rock, reminiscent of the theme song to Justified. This one has some interesting stuff in it. The lyrics don’t grab my attention and I could do without the thud-thud back-beat of the drummer, but there’s some resophonic guitar and very bluesy keyboard/organ work in this number.

“Don’t Say You’ll Walk Away (Tonight)” mixes some interesting, quiet mandolin work mixed with loud guitars crashing in the background. The guitar break is more of a formula than a solo. Like many of his songs, you have to work to piece together a cohesive story from his lyrics. This doesn’t seem unusual for this style of music so there are undoubtedly significant numbers of people who can get into this groove. I have to admit I miss songs like “Lonesome 7-7203.” They told the story; you didn’t have to piece anything together.

There’s good music here for fans of the country-rock-indie (the CD was #32 on the Roots Music Report for November 2013), lots of crashing guitars and a strong drum beat so you can dance. If “Come Sundown” is one of your favorites, you’ll be disappointed.

 

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“Great Big World” by Tony Trischka

Tony Trischka
Great Big World
Rounder Records
5 stars (out of 5)

By Aaron Keith Harris

If you’re not sure of Tony Trischka’s banjo cred, take it from Bela Fleck:

Tony was the right guy at the right time to take advantage of all the new lessons that were being taught right and left by Jimi Hendrix, the Beatles, the Beach Boys, Miles Davis and so many more…and apply them to banjo music. This enabled him to propel the fine art of banjo playing three giant steps forward.

That’s from Fleck’s liner notes to Great Big World, aptly titled when one considers that the diverse and beautiful sounds Trischka makes on this 13-track disc are possible only in the musical world that he did so much to create.

A core unit of guitarist/vocalist Michael Daves, mando picker Mike Compton, fiddler Mike Barnett, and bassist Skip Ward join Trischka for trad-grass arrangements of Woody Guthrie’s “Do Re Mi,” “I Wonder Where You Are Tonight,” and—with Chris Eldridge on guitar and lead vocals—”Say Goodbye.” Daves and Aoife O’Donovan trade vocals on the latter part of “Belated Wedding Hoedown/Angelina Baker,” with the Trischka-penned instrumental first half setting up Stephen Foster’s familiar melody perfectly.

Trischka’s instrumental compositions have always been both intricate and tuneful, and that’s what he delivers with “The Danny Thomas,” “Promontory Point” (with Steve Martin on banjo), the solo front parlor picking of “Swag Bag Rag,” and the seven-minute “Single String Medley,” which features a unique tune for each of the banjo’s five strings.

“Great Big World/Purple Trees of Colorado” is another seven-minute frolic, with Noam Pikelny picking second banjo and longtime Trischka pal Andy Statman pitching in with both mandolin and clarinet.

Trischka is also a gifted lyricist whose melodies work just as well sung as played, and it doesn’t hurt to have voices like harpist Maeve Gilchrist (who also adds her harp to “Ocracoke Lullaby,” which indeed does sound like a gentle night on the coast of its eponymous island), the ethereal Abigail Washburn (“Lost,” arranged with violin, viola, cello, flute and clarinet), and Catherine Russell, who’s backed by Dylan sideman Larry Campbell on pedal steel and latter-day Allman Brothers Band bassist Oteil Burbidge for the ecumenical gospel rave-up “Joy.”

All that’s enough to make this one of the finest records released this year—and to serve as proof that Trischka can do well whatever he sets his hand to—but the coup de maître is “Wild Bill Hickok,” a miniature Western with laconic vocals from Ramblin’ Jack Elliot and narration by John Goodman.

“A Dotted Line” by Nickel Creek

Nickel Creek
A Dotted Line
Nonesuch Records
2 stars (out of 5)

By Aaron Keith Harris

It’s been a decade and a half since Nickel Creek released their self-titled third album, the one that introduced them to music fans outside the bluegrass festival circuit that Chris Thile, Sara Watkins, and her brother Sean Watkins had been popular on since they were kids.

Now in their thirties, each is rightly considered among the very best musicians on their instruments—especially Thile, who is nothing less than the Babe Ruth of the mandolin. But their sum here on A Dotted Line is considerably less substantive than their parts.

Twee is the word that kept coming to mind as I listened to this one several times. Rather than trusting their talent to just play, the trio can’t get out of their own way when it comes to writing, choosing and arranging material.

Even on what could have been a simple and beautiful instrumental track like “Elephant in the Corn,” they have to throw in a couple of bits that are—to copy and paste from my dictionary app—”affectedly quaint.”

I suppose Thile thinks he’s being Byronic on “Rest of My Life,” “Love of Mine,” and “You Don’t Know What’s Going On,” but he’s really still just doing John Mayer’s tired act. What’s worse is that Sean tries the same thing on “Christmas Eve.” You’d think a couple of grown men would know how to talk to women more effectively, but I guess when you’re in a band, you can let that part of your game slide.

Sara comes through with lead vocals on the disc’s only two listenable tracks, the self-penned perfect pop of “Destination” and a gorgeous take on Sam Phillips’ “Where is Love Now.” Her voice is as sweet as it was on “The Hand Song,” but she’s got the maturity that her bandmates don’t.

The most important track here is the cover of “Hayloft,” by Canadian indie rockers Mother Mother. It took great skill to play and produce a track so awful, which makes it so disappointing that these three seem so intent on proving their hipster bona fides when they should just relax and play (see the Infamous Stringdusters).

“Taproot” by Three Tall Pines

Taproot
Three Tall Pines
self-released
3½ stars (out of 5)

By Aaron Keith Harris

Taproot is a six-song, 23-minute EP, the third studio effort from New England bluegrass/Americana quartet Three Tall Pines.

Dan Bourdeau (guitar, vocals), Nick DiSebastian (bass, guitar, vocals), Joe Lurgio (mandolin, vocals), and Conor Smith (fiddle, vocals) are joined by guest banjo picker and producer Ron Cody on five bluegrass standards and one fine Bourdeau original—the decidedly Welchian “Stonewalls.”

TTP won’t be mistaken—especially vocally—for most of the bluegrass bands that include “Walls of Time,” “Crying Holy,” and “Angel Band” in their repetoire, and that’s a good thing. Their arrangments have a hint of the rock/jam band sound to them, getting the right mix of reverent and refreshing.

Smith’s playing throughout is especially good, and he’s joined on two tracks by a couple of fellow fiddlers to great effect: Britanny Haas on a soaring “Raleigh & Spencer” and by Haas and Lauren Rioux on “With Body & Soul.”

This was my first notice of TTP, and I’ll be looking forward to more material, especially original compostions as good as the lone example here.

“Let it Go” by the Infamous Stringdusters

The Infamous Stringdusters
Let it Go
High Country Recordings
5 stars (out of 5)

By Aaron Keith Harris

The bass player usually is mentioned last, but Travis Book’s work is what makes this fifth studio album by the Infamous Stringdusters one of the very best acoustic albums that I’ve heard in a while.

So many bands attempting to transcend their nominal bluegrass origins go bashing away as hard and fast as they can, leaving drive and direction out of it altogether. The most readily apparent sign of this is usually bassist who can’t quite keep up. Then you have players like Book (as well as the great Mike Bub) who are the lead dogs, giving those closer to the sled more room to work.

The 11-track, 40-minute Let it Go is the work of a band that seems to play, sing, and even think, as one. So much so that the CD packaging doesn’t identify the band members, much less give a track by track accounting of who’s playing and singing what, as is customary on many bluegrass releases, especially the ones with hired studio aces.

The complete sound is what the Stringdusters are concerned with and the sound they make here has the drive of a band like Blue Highway—with brighter, more melodic textures—backed by musicianship about as good as the Punch Brothers without the pretentious wankery.

The instrumental breaks are short and collaborative, with the Dobro or fiddle often running in one channel the same quick zigs and zags as the banjo in the opposite. The guitar adds depth to Book’s bass, and occasionally steps out for some crisp and rich flatpicked solos.

And all of this is done in support of some great singing and songwriting—I’ve been listening constantly to “I’ll Get Away,” “Where the River Runs Cold,” and “Summercamp” the last couple of weeks, whether through speakers, headphones, or just my mind.

“Summercamp” is a three-and-a-half-minute masterpiece that sounds like what you would get if you locked Ron Sexsmith and the mid-1970s Seldom Scene in the studio and told them they couldn’t come out until they had a radio hit.

As we’re beginning summer in our hemisphere, I couldn’t recommend more highly a new album to add to your musical rotation for the sunny days ahead.

“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.

“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.