By Donald Teplyske
Michigan acoustic duo Billy (Apostol) Strings and Don Julin have released their second recording, a live album entitled Fiddle Tune X. It is an animated, forceful collection of mostly very familiar songs, none of which appeared on their debut album of last year.
I have heard it argued—and may have taken this position myself—that a duo cannot play bluegrass as it is impossible to include the necessary elements of the genre with only two instrumentalists. Strings (guitar) and Julin (mandolin) may not feature fiddle or bass, but everything about their stance suggests deep interest in and respect for bluegrass. They are certainly a bluegrass duo.
While the sound may not be bluegrass in its purest form, the essence of the music is certainly concentrated within the duo’s sparse framework. They draw on the fiddle-tune foundation of bluegrass (“Salt Creek”/”Old Joe Clark”), the influence hillbilly and country sounds had on its founders (“Beaumont Rag,” “Walk On Boy,” and “Miss the Mississippi and You,”), and the standards that are at the core of the music (“Poor Ellen Smith,” “How Mountain Girls Can Love,” and “I Ain’t Gonna Work Tomorrow.”)
While such a repertoire may appear tired or pedestrian, such is not the case. Strings and Julin bring an abundance of energy to their performance, feeding off each other and their audience to elevate these frequently encountered songs. While most of the songs have been around next to forever, the pair—working around a single mic—have found a way to make the overly recognizable extremely appealing.
Without overstating things, Doc Watson—whose spirit doesn’t seem to be too far removed from these boys’ hearts—comes to mind; you comfortably anticipated how a Doc Watson performance would unfold, but that didn’t stop you from leaning forward to listen. Same here, although the familiarity factor is obviously less apparent.
Strings sings the lead throughout with Julin coming in with complementary tenor. The bulk of the songs were recorded at various venues including small halls, bars, and homes. These songs have the most vigour, with the audiences’ enthusiasm for the duo readily apparent. They play to the crowd rather shamelessly and good-naturedly, extending both “Shady Grove” and “Little Maggie” to six minute-plus jams, guitar and mandolin exchanging the leads while also coming together in impressive displays of companionable accompaniment. The opening pairing of “Beaumont Rag” and “Walk On Boy” showcase Strings considerable flatpicking skills.
A large handful of songs were recorded without second guessing or overdubs in a snowbound farmhouse early this year, and it is on these cuts that the duo are at their strongest. Absent the whooping and hollering of the more exuberant members of their fan club, one can more readily appreciate their talents.
Julin’s title tune is a driving bluegrass instrumental that threatens to go by a bit too quickly were it not for Strings’ judicious tempo adjustment on his break. “Dos Banjos,” Strings’ composition, has a real mountain sound with timeless lyrics that could be lifted from a Hobart Smith side. Bill Monroe’s “Lonesome Moonlight Waltz” is perhaps the album’s most pensive tune, and showcases the duo at the highest level. Strings’ playing, while considerable throughout the 17-track recording, is especially appealing here with Julin serving up delicate notes that are terribly impressive. The Stanley Brothers’ “Sharecropper’s Son” is another highlight.
The closing rendition of “How Mountain Girls Can Love,” recorded on Third Man Records Voice-o-Graph is the only jarring bit on an otherwise terrific collection; given this and Neil Young’s indulgent A Letter Home, let’s hope the fascination with this low-fi method is a quickly passing fancy.
Billy Strings and Don Julin have captured some of their favorite live performances within this collection. Augmented with their isolated farmhouse recordings, the duo have crafted a very pleasing set of acoustic music. I anticipate frequently returning to Fiddle Tune X. Especially recommended for those who appreciate Darrell Scott and Tim O’Brien.