By Larry Stephens
Bluegrass is both narrow and broad. It’s narrow because stepping outside the accepted six instruments causes queasiness in a lot of people. Steel guitar? Uh…maybe. Just don’t bring it on stage. Piano? Okay if it’s Buck White but keep the volume low. Drums? Whew, boy, bluegrass is going rock ‘n’ roll. The reaction to including country songs is usually less acidic, and you hear southern gospel, blues, old timey and rock songs.
On this new CD Tom Feller and Chris Hill push the bluegrass envelope a bit with a steel guitar (Hill, who also plays banjo, guitar and adds vocals) and drums (Feller, who adds guitar, mandolin, bass, Dobro on “The Government Blues” and vocals), but they aren’t straying too far from the bluegrass formula.
“Hey Baby” isn’t Bill Monroe traditional but it is from the pen of Aubrey Holt (Boys From Indiana, Feller’s uncle). Holt also wrote “Here Comes Polly,” a good bluegrass number that features Cody Jones singing bass. Keeping it in the family, Feller’s mother, Judy, contributes “Stone Woman Blues.” This is a good number in the classic country vein and features the great Michael Cleveland (another southern Indiana boy) on fiddles. Cleveland plays fiddle on most tracks with Glenn Gibson playing Dobro.
This underlines an important feature of their music—it’s aimed at the bluegrass market (a more viable market than classic country) and is well accepted by the bluegrass crowd (the Bean Blossom watchers were very enthusiastic), but it tends to be more classic country than bluegrass. This is acoustic country music, so it fits in a bluegrass environment, though no doubt those with purist leanings would complain. I had a chance to talk with Chris Hill and he tells me that their selection of classic country music is intentional, an aim for a niche market that isn’t being explored in depth by other bluegrass artists. Instead of bluegrass with an occasional country song, they are doing classic country in a bluegrass/acoustic format and their next CD, on the final production laps, will be a country CD with no pretensions of bluegrass music.
Tom T and Dixie Hall have written many good songs for bluegrass and they add two here. “The Government Blues” is a fine number that would have fit Jimmy Rodgers well, relating the many woes of taxes and no money. “Tired of Losing You,” with Rhonda Vincent adding vocals (co-written with Billy Smith), is a great country love song. This is the only number that you’ll hear Chris Hill’s steel work but it blends well and is not at all over the top. Another famous name from country music is Faron Young, who composed “Forget The Past.” Feller & Hill underscore the resemblance they bear to Buck Owens and Don Rich but on this number Hill has styling closer to Faron Young’s.
Speaking of Owens and Rich, Feller wrote a number in honor of their memory and includes bits of several of their hits in it. “The Ballad of Buck and Don” is tribute to one of the best duets in the history of country music.
They nod to gospel music with a Joyce “Dottie” Rambo song, “When Is He Coming Again.” It’s a story of fighting betwwen families and when will Jesus come again to relieve us of all the darkness of the world. Heather Berry-Mabe adds vocals to this track. They turn to bluegrass tradition with a Don Reno number, “He’s Coming Back To Earth Again,” singing it it the echoing style of Reno & Smiley.
“It’ll Be Too Late” is another good country song while “Never Ending Song of Love” will be familiar to many. Made popular by Delaney & Bonnie, whose members at times included Duane Allman and Gregg Allman, George Harrison, Leon Russell, Rita Coolidge and Eric Clapton, it was also recorded by George Jones and Tammy Wynette. This is the only track with drums. I asked Hill why they included drums and he told me the track seemed to be missing something and adding the drums tied it all together. But the wildest selection is “Slaughter on Tenth Avenue,” a Richard Rogers number recorded by such diverse groups as The Ventures and The London Festival Orchestra, though you’ll have a hard time hearing Feller & Hill’s version in the orchestral recording. Crazy as the idea may sound, this makes a good instrumental for a bluegrass band.
If you like country mixed with bluegrass you’ll thoroughly enjoy this up-and-coming duo.