Doyle Lawson & Quicksilver
Mountain Home Music
4 stars (out of 5)
By Donald Teplyske
I realize it may not be a popular opinion, and it may even get me into trouble, but I’ve always wondered how good DLQ would be if the band became a more stable group, with members expected to stay together for several years to grow into a true band—rather than be a bluegrass training ground or (my least favorite bluegrass term this side of ‘progressive’) ‘school of bluegrass.’
I first had this thought about ten years back when Quicksilver included folks like Jamie Dailey, Jesse Stockman, Barry Scott, and Terry Baucom, fully realizing Baucom was an original member of the group—by the time Dailey and Scott, in particular, left the band, DLQ was getting it as good as it can be got.
Instead, Quicksilver boasts an almost constantly revolving lineup of musicians and singers, all of whom bring considerable talent to the band. But, to me, it always seems everything is temporary with the band—it is just a matter of time before someone moves on and the next guy slips into the mix. Kind of like when Greg Brady needed to fit the Johnny Bravo suit.
As much as I feel this way, I usually enjoy DLQ in concert—as long as the antics aren’t too predictable, and they sometimes are—and I appreciate their recordings, although not as much lately. Recent albums have suffered from weak material and generic and faceless lead singing, with Roads Well Traveled being a particularly telling point, in my opinion. Songs like “Dobro Joe,” “How Do You Say Goodbye to Sixty Years,” and “One Small Miracle” just didn’t cut it, being derivative of songs Lawson had previously performed to greater impact. “Say Hello to Heaven” was a new low, contrived and nauseatingly shallow, flaws that also marred “I’m That Country” and “The King.”
Doyle Lawson still has it, of course. His most recent albums with Paul Williams and J.D. Crowe are certainly proof of that. It seems that he has just become too focused or maybe complacent, musically, on being Doyle Lawson—repeating the same old stuff with which he has found success. I’ve heard him speak about his recent music, including Roads Well Traveled, and he sure seems to like what he is doing.
I just don’t see—and most importantly, hear—the appeal.
Which is a long way of getting to Doyle Lawson & Quicksilver’s new album, In Session.
It’s pretty good, certainly a mile and half better than Roads Well Traveled. For me, it doesn’t rise to the level of the albums I consider to be DLQ classics: Once and For Always, The Hard Game of Love and You Gotta Dig a Little Deeper. It sounds and feels more impassioned than any Quicksilver secular release since Lonely Street.
The band is solid, of course. Within the current edition of DLQ, Josh Swift (reso, percussion, and vocals) has been around the longest—well, other than Doyle Lawson, natch. Joe Dean (banjo and guitar) has made a few albums with DLQ, while lead vocalist and guitar player Dustin Pyrtle has been around for a couple of years. Eli Johnston (bass, guitar, vocals) and Stephen Burwell (fiddle on a single song, “Wilma Walker”) are more recent recruits. Most of the fiddling is very ably handled by Jason Barie, now with Joe Mullins & the Radio Ramblers.
The traditional Quicksilver drive is all over this album, with Johnston propelling things from the back end. Songs like “Reasons Why” and “Roll Big River” really benefit from his pulsing bass notes. “Captain” is (I believe) a strong new song from Johnston and Cody Shuler, a bit sad but not obvious.
The instrumental “Evening Prayer Blues” is a great tune, one that has been around for a long time. Lawson’s playing on it is simply impressive while the guitar contributions add a real nice texture to the tune. A cover of the Moe Bandy song “Americana” is a tad over-wrought, but not inexcusably so. The old country song (The Browns, Jimmy C. Newman) “I’d Just Be Fool Enough” is brought into bluegrass perhaps for the first time and it is a good fit. The courting song “Wilma Walker” will likely be popular.
For this listener, this new album is a welcome return to the form and quality that I had come to expect from Doyle Lawson & Quicksilver. That I felt the band had gone off track for a while is now beside the point: DLQ is back and (forgive me) In Session!