“Sing the Songs of Vern & Ray” by Laurie Lewis & Kathy Kallick

Laurie Lewis & Kathy Kallick
Sing the Songs of Vern & Ray
Spruce and Maple Music
5 stars (Out of 5)

By Donald Teplyske

“Now come, let’s gather round me, here’s what I’ve got to say,

About this blue grass music, I know it’s here to stay;

Can’t you hear that 5-string talkin’, that lonesome fiddle whine,

Take off your hat, hang up your coat: we’re gonna have a time!”

-“Blue Grass Style”

Vern Williams and Ray Parks were an influential west coast bluegrass act from their formation in 1959 until their dissolution in the mid-70s. Their lone album, 1974’s Sounds of the Ozarks, is a rarely heard but much sought after slab of Ozark mountain-raised, California hewn bluegrass. Following Vern and Ray’s disbanding of their group, the Vern Williams Band remianed a prominent presence in bluegrass, especially on the west coast.

Written by band member Clyde Williamson and Cal Veale, Vern and Ray’s song “Cabin On A Mountain” is rightly considered an exceptional bluegrass performance, with the song going on to be recorded numerous times including by Larry Stephenson, the Spinney Brothers, and Danny Paisley & the Southern Grass. Longview, Open Road, and many others have recorded their songs.

Possibly no two individuals have more confidently and consistently beat the drum for Vern & Ray than Kathy Kallick and Laurie Lewis. Themselves leading denizens of the California bluegrass scene, Lewis and Kallick frequently pay tribute to Vern & Ray and their ongoing influence in concert. They come together here for their second album of duets (following 1991’s Together, which was dedicated to Vern & Ray) by releasing a wonderfully touching and musically significant tribute to the duo that so impacted them.

Critiquing Laurie & Kathy Sing the Songs of Vern & Ray is patently silly. It is incredible from start to finish. There may be finer bluegrass singers than these inspirational stalwarts, but such scaling would be foolish. Songs have few better friends than these two; whether singing lead or harmony, their voices know each other so well as to make their efforts appear unrehearsed and familial.

That both are exceptional musicians—Kallick plays lead and rhythm guitar on all but one track, Lewis handles all the fiddle (augmented with frequent Kallick collaborator Annie Staninec on a pair of twin fiddle numbers) and bass—is indisputable. With their instrumentalists—primarily Tom Rozum (mandolin) and Patrick Sauber (banjo), but also Vern & Ray acolyte Keith Little (banjo) and Sally Van Meter (resophonic slide)— the duo naturally captures the passionate spirit Williams and Parks brought to their music.

A definite highlight is their interpretation of “Thinkin’ Of Home.” Featuring twin fiddles and lead vocals from both Lewis and Kallick, this Williams/Park co-write (from their debut Starday extended play recording of 1961) is reinvented by these formidable female voices. Whereas Williams’ voice cut across the melody in the most wonderful way, Lewis and Kallick gently support each other through the song’s desolate isolation, while simultaneously singing with no little bit of starch.

One of Vern & Ray’s most authoritative recordings was their take of “Touch Of God’s Hands.” Here Keith Little takes the lead with the ladies provide soaring harmony. “To Hell With the Land” is perhaps my favourite Parks composition, and here Lewis reminds us that there remains causes for the home place being abandoned.

The originals were incredible performances, under heard perhaps, but powerful and deserving of a wider audience. Lewis and Kallick, by recording these in such a redoubtable manner, have provided opportunity for more people to become familiar with the music of Vern and Ray.

It has been said that there is nothing better than the sound of bluegrass when performed by friends. Laurie Lewis and Kathy Kallick—with their compatriots—have created a recording a long time in coming, one that certainly gives Vern Williams and Ray Parks their bluegrass due.

 

 

 

 

 

 

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“Side by Side” by Ralph Stanley & Ralph Stanley II

Ralph Stanley & Ralph Stanley II
Side By Side
Rebel Records
4½ stars (out of 5)

By Donald Teplyske

Eighty-seven years is a long time to live. To be recording at that age is highly unusual, but that is what we find today when we consider Ralph Stanley.
Recorded in 2013 (so more accurately 86 years old as a recording artist), “Side By Side” is a duet album by Stanley and his son, Ralph Stanley II that represents the first time the two have stood, well, side by side in the studio as equals rather than as ‘boss’ and Clinch Mountain Boy.

The selection of songs—four of which feature Ralph in strong lead voice—are almost exclusively older and well-known: the album kicks off with “Wild Bill Jones,” goes “Walking With You In My Dreams,” asks “Are You Waiting Just For Me,” and concludes with “I’ve Still Got 99.”

The musicianship is classic sounding—fresh and relaxed with a professional sheen that doesn’t get in the way of the emotions of the music. Clinch Mountain Boys alumni John Rigsby (fiddle and mandolin), Randall Hibbitts (bass), and Steve Sparkman (banjo) are the core band, with Two doing double duty on lead and rhythm guitar. Dr. Ralph lays out clawhammer-style on a solitary track, the aptly titled “Battle Ax.”

Doubting the senior Stanley’s vocal capabilities? Don’t. Instead, give “Don’t Weep for Me” a listen, or appreciate his excellent tenor contributions to any number of these songs including “Don’t Step Over An Old Love,” “Nobody Answered Me,” or “Carolina Mountain Home.”

Two has become a fine singer in his own right, one of my favorites. If you haven’t heard him before, also consider his album of a couple years back Born To Be A Drifter. “White & Pink Flowers” is a sentimental weeper, while “Dirty Black Coal” is more my style. Start to finish, Side By Side is a superior album of bluegrass.

Perusing these song titles, it is readily apparent what Two and co-producer Rigsby had in mind—a celebration of the Stanley mountain music legacy. And they have pulled such off in a significant way. “Side By Side” is cause for celebration. We all know Ralph Stanley had planned on retiring this year, but with his continuing good health delaying that decision one of the last true ‘first generation’ bluegrass singers continues to make appearances. And his latest album is as good as anything—and certainly superior to some—he has recorded in the past 20 years.

I would suggest that Side By Side is among the strongest bluegrass albums that has been released in 2014.

“Dream Big” by the Darrell Webb Band

The Darrell Webb Band
Dream Big
Mountain Fever Records
4½ stars (out of 5)

By Larry Stephens

When Darrell Webb takes the stage he owns it. He stalks back and forth, puts a leg up on the front rail as he sings and plays, moves to a musician taking a break to share with him or just watch. He’s energetic and intense. He doesn’t just play, he performs. I reviewed Bloodlines four years ago and started by saying, “As soon as “I’m Bringing Home Good News” kicks off you know you’re in for a ride and it’s on a bluegrass train. Darrell Webb took a good Merle Haggard song and gave it a triple shot of Red Bull.” Fifteen hundred days later, hundreds of shows later, he hasn’t worn off his edge.

Dating back hundreds of years, coins have been placed on the eyes of the deceased so they can pay Charon, the ferryman, to row them across the River Styx – even though most of us aim for the River Jordan. “Ferry Man,” co-written by fiddler Jim VanCleve, is pure bluegrass, all about a life of hard times and hard living that’s come to a sad end:

Mother died when I was young

Father drank to kill the pain

The way my father left this world

I sadly did the same

Webb plays mandolin and sings the lead, joined by VanCleve, Tim Stafford (guitar), Jason Burleson (banjo), Shawn Lane (tenor) and Rob Ickes (resophonic guitar) and Jason Moore (bass). Just a sampling of the great musicians on this CD, a who’s who of the groups Webb has been a member of through the years, the instrumental work is excellent.

Staying with pain and despair, “Bad Old Yesterdays” is all about love so good then love gone bad, she was “unfaithful with the one I trusted most.” Bandmate Jake Joines plays Dobro and former LRB bandmate Sammy Shelor plays banjo with Aaron Ramsey playing mandolin. Things go from bad to worse when he’s about to swing on the “Devil’s Rope.” Bandmates Jared Hensley (guitar) and Jeremy Arrowood ( NS Bass) join him while while Webb plays both mandolin and banjo.

“Flying South to Dixie” has been around a long time and recorded by a slew of artists. It may qualify as the song with the most composers based on a Google search. Cindy Walker (who is credited here), Hank Snow, Hank Locklin and Robert Weber all pop up as composers. This may have arisen from the old custom of registering variations in your own name. Jamie Johnson and Terry Eldredge join Webb on vocals on this on this swinging old country song.

Another nod to the past is a Dr. Ralph Stanley favorite, “Pretty Polly.” Webb’s interpretation and banjo playing are top-notch. Moving to a more modern sound, “So Far” is a love song that Ronnie Bowman helps to sing and Phil Leadbetter contributes resophonic guitar. “Folks Like Us” will resonate with most anyone listening to it, describing the chasm between the working man and the rich man, asking if there’s “a way to get ahead that doesn’t make us bleed.” After all the news of greed and grift among people and companies that make more in an hour than most of us do in a year—or a lifetime—a lot of people will hear this story. Jamie Dailey and Darrin Vincent add vocals.

Webb and VanCleve composed “Mashtag,” an instrumental that starts off slow and reflective before kicking it up a notch. Another number that probably speaks more to older fans, those of us with enough years that we can look a long way back to the time when life seemed it would go on forever, is “More Life.” Co-written by Mike Reid, a great songwriter whose singing career didn’t last long enough, with Rhonda Vincent adding vocals, it’s the story of a man nearing the end of life. Thinking of what he will do “as soon as gets his back up to speed,” the nurse comes in “with something for the pain” and asks if there’s anything more he needs.

More life, more time

More faith and the presence of mind

To breathe deeper, love stronger

Stay in the moment one moment longer

Less anger, less worry, more life

Oh, my.

Darrell Webb will go down in the books as one of the great stars of bluegrass and this CD is just one piece of the proof.

 

 

“Lonesome and Then Some…A Classic 50th Celebration” by Larry Sparks

Larry Sparks
Lonesome and Then Some…A Classic 50th Celebration
Rebel Records
4½ stars (out of 5)

By Aaron Keith Harris

Larry Sparks is an undisputed bluegrass icon, as much for his prodigious talent—the mournful, masculine voice pitched a little lower than “high lonesome” and his commanding guitar technique—as his niche somewhere between bluegrass music’s first and second generations (as Carter Stanley’s successor alongside Dr. Ralph starting in 1966, he played a key role in that period of transition when followers of the founders started, ever so gently, branching out).

Fifty years a professional, he’s still as good a bluegrass (or country or gospel, for that matter) lead singer there is, and the band he’s got on this disc—David Harvey (mandolin), Ron Stewart (fiddle), Tyler Mullins (banjo), Larry D. Sparks (bass), and Jackie Kincaid (tenor vocals)—does him justice, especially Kincaid’s old-school harmony on the opening cut, Jimmie Skinner’s “Will You Be Satisfied That Way?” and the simmering gospel bluegrass of “We Prayed.”

Sparks offers up some more trad grass with tenor harmonies from fellow legends Ralph Stanley (on Carter’s “Loving You Too Well”), Bobby Osborne (“Letter to My Darlin’), and Curly Seckler (“Dim Lights, Thick Smoke”), while Seckler and Jesse McReynolds join in on Hank Williams’ gospel shouter “I’m Gonna Sing, Sing, Sing.”

But Sparks’ vocal virtuosity is in his ability to master both more contemporary bluegrass songs and banjo-less gospel. Here, the latter style is represented by “Going Up Home to Live in Green Pastures” (which never gets old, especially with Alison Krauss and Judy Marshall joining Sparks and solo guitar), and “Savior’s Precious Blood,” also with just bluesy guitar and that majestic voice.

Sparks again shows on the album’s three bluegrass story songs—the nostalgic “In Those Days,” the realistic coal mining ballad “Journey to the Light,” and the Southern gothic “Bitterweeds” how he can turn a good song into a great one.

The crowning touch of this 12-track disc is a 1995 live cut of Sparks joining Bill Monroe and His Blue Grass Boys on stage at Bean Blossom for “In the Pines,” which is predictably grand.

“Headwaters” by Jason Tyler Burton

Jason Tyler Burton
Headwaters
self-released
4 stars (out of 5)

By Donald Teplyske

Some wonderful albums could come from ‘anywhere’, and their universal appeal is one of the things that make them powerful. It matters not whether the songwriter was in Austin or Dublin, on the Spanish Steps or in Florence’s Accademia as his songs germinated, the lyrics and music reach across time and locales to capture emotions and sentiments that transcend something as obvious as setting.

Other albums are so assured in their sense of place they could only be from ‘that place.’ In every word, in each note, the sense of place is so strong that their connection to ‘that place’ is palpable.

Some of my favourite albums have that strength of place. Woodland Telegraph’s Sings Revival Hymns is one of those albums, a creation that is so tied to its genesis in the Canadian Rockies that it seemingly couldn’t have been produced elsewhere. To me, every album from John Wort Hannam and Maria Dunn  share a similar feeling: these are Alberta albums, even if their subject matter, inspiration, and very sound cross provinces, countries, and oceans. If you ask me, Jay Clark’s album’s couldn’t come from anywhere but east Tennessee, and more recently, Josephy Lemay has created music that shares a similar connection to place.

All of which brings me to Jason Tyler Burton’s new album, a disc that overflows with the atmosphere, openness, and clarity of the Utah and Wyoming wilderness that this Kentuckian now calls home. Living in a van and exploring this western land, Burton has created a remarkable album that connects listeners to a place they may never have before experienced.

I come to Burton’s new album Headwaters with no familiarity with his music. With a little research, I came across some live performances including a challenging little number entitled “Caleb Meyer’s Ghost,” in which Burton creates the back story for Gillian Welch’s (still) greatest song; in Burton’s interpretation, Nellie Kane’s assailant had his own troubles in life, but Burton doesn’t let him off the hook and holds him accountable for his actions. There is a little interview with Burton about this well crafted song posted at Murder Ballad Monday. The song is from Burton’s first release, The Mend.

While appealing and creative, this wouldn’t interest me nearly as much if Headwaters didn’t turn out to be such a captivating album. Firmly within the parameters of the ‘singer-songwriter’ oeuvre, Burton has crafted a dozen songs across this intense album. Each of these finds the artist searching and exploring—for truths, for comfort, for meaning…for ‘the headwaters’ that feed our spirits.
As communicated through his songs, Burton’s nomadic existence reminds us that the greatest journeys are within, examinations of our soul, our beliefs. Headwaters encourages this exploration through lyrically rich compositions framed with complementary and crisp instrumentation.

In the encouraging “Fly” he sings of someone “made for much bigger things,” even if that means leaving the singer behind. Searching for where “my headwaters run” in the title track, he vows to “keep moving along” with Katy Taylor harmonizing along, reminding us that life’s journey is (thankfully) seldom solitary.

Augmented by both Jessika Soli Bartlett’s cello and Lynsey Shelar’s violin and especially Steve Lemmon’s percussion, piano, and drums, the songs are complete without misplaced polish and shine, atmospheric without falling into twee faux-intensity.

There was obvious vision for this recording, and Burton and co-producer Dave Tate—who also contributes electric guitar, percussion, piano, and bass—have brought it to life. While individual credits for the songs are not indicated, Ryan Tilby rates mention if only for his obvious steel contributions to a few songs; he also is credited with various bass, guitar, and banjo parts, but so are others including Burton and Tate so it isn’t possible to identify who is playing what where.

Burton explores the inspirational certainly, but he is also realistic, as when he sings “I’ve got silver linings for every one of my dark clouds but yours.” The message seems to be: Sometimes, just  you can’t find a way. In “The Wanderer,” Burton seems to be sharing his own tale, and here the strings truly convey the spirit of the song—wistful hope blurring with stark realism.

The restless intensity of the protagonist of “Thicker Than Water” is tangible; what he is going to do with it, what is going to come of it, is less obvious. This is certainly my favourite song on the album, a performance that—like the Welch/Rawlings song that previously inspired Burton—provides motivation to this writer to explore the dark shadows of the woods.

Not to give the impression that the album is overly brooding—although Headwaters does have a bit of a minor key feel if not in actuality—”Evergreen” may be the album’s most lively number, coming close to being a mountain stomper. “Being ten thousand feet above this town” as he is in “Tightrope Walker” brings additional lightness to the album.

Headwaters has a strong, evident sense of place, but like all great albums of this nature it bridges the distance to allow listeners to become immersed in situations and experiences far from their comfort zone.

And, as an aside, if you haven’t listened to Guy Clark’s Dublin Blues in a couple of years, do that today; damn, that album is great!

“Dear Jean: Artists Celebrate Jean Ritchie” by Various Artists

Various Artists
Dear Jean: Artists Celebrate Jean Ritchie
Compass Records
5 stars (out of 5)

By Donald Teplyske

Spending time with the music of Jean Ritchie quickly sends one down a rabbit hole of interpretations, variations, fragments, and re-imaginings of Scotch-Irish-English story songs. It can be fascinating to trace a tendril of one ballad to the chorus of another and the thread of a re-worded version of a third.
It can also be exhausting.

Rather more pleasant is allowing Ritchie’s unvarnished voice sweep one away to a world of Unquiet Graves, Maids Freed from Gallows, Rosewood Caskets, House Carpenters, and Orphaned Children. Whether singing a cappella or accompanied by her own dulcimer, by Doc Watson’s guitar and banjo, or by folks like Eric Weissberg (who nicely accompanies Judy Collins here on “One I Love”) and Marshall Brickman, Ritchie takes listeners to places that—within the most popular contemporary Americana performers—only the likes of Iris Dement does today.

As did Hazel Dickens and Ola Belle Reed through their original songs, Dement and (as I learned living with this collection) dozens of unheralded mountain and hill singers, Ritchie transports the listener to a long ago place that only tangentially bears relevance to contemporary times.

Or, it would appear upon first listen.

Because woven into Ritchie’s ballads of courtship, disaster, crime, wonder, sentimentality, and loss are cautionary tales, tragic ballads, and ‘sparking’ songs that connect with motivated modern listeners by the very power of their antiquity and timelessness.

What is sometimes (frequently, perhaps) neglected when considering Jean Ritchie is that standing alongside the “ballads from her Appalachian family tradition,” to borrow a phrase, have been dozens of amazing, timeless creations—among them “The L & N Doesn’t Stop Here Anymore,” “West Virginia Mine Disaster,” “Blue Diamond Mines,” “Thousand Mile Blues,” and “Black Waters”—that are original compositions inspired by the realities of Ritchie’s experiences.

Dear Jean: Artists Celebrate Jean Ritchie is a two-disc, 37-track labour of love from producers Mick Lane, Charlie Pilzer, and Dan Schatz augmented by performers who not only have been influenced by and admire Ritchie, but many who have more than passing connection to the Kentuckian who was awarded a National Endowment For The Arts National Heritage Fellowship in 2002.

The set contains a blend of traditional and contemporary ‘folk’ approaches to the material, with a decided emphasis on presenting performers who may not be widely known within the broadly defined folk and Americana fields. Providing further balance, the producers have elected to feature many of Ritchie’s lesser known compositions alongside the many traditional songs for which she is well regarded.

Some who have contributed to this collection are familiar and contribute the expected exceptional performances. Robin and Linda Williams with John Jennings (“The L & N Doesn’t Stop Here Anymore”) Peggy Seeger (“Young Man Who Wouldn’t Raise Corn,”) and John McCutcheon (“The Bluebird Song”) are among the most well-known of the performers.

Select songs have a contemporary presentation. The always formidable and impressive Janis Ian, supported here by Andrea Zonn, Alison Brown, and Todd Phillips, serves up a memorable version of “Mornings Come, Maria’s Gone.” An all-star lineup of John McCutcheon, Tim O’Brien, Stuart Duncan, Bryn Davies, Suzy Bogguss, and Kathy Mattea perform “Black Waters” capturing the emotional, physical, and geographical impact that brutally evasive and injurious coal mining practices have had on the southern United States.

Other performances are more reminiscent of the stark sounds and performances Ritchie grew up immersed within, such as Sally Rogers and Howie Bursen’s “Lord Bateman,” the Starry Mountain Singers “I’ve Got a Mother,” and Archie Fisher’s “Jackaro.”

While a handful of the performers have considerable name recognition, the overwhelming majority are less familiar—at least to me-—but their contributions provide substantive flesh to the beautiful skeleton that would have existed had only ‘stars’ been included. Traditional singers like Magpie (“Farewell to the Mountains,”) the incredible Molly Andrews (“Now Is the Cool of the Day”) and Elizabeth LePrelle (“Fair Nottamun Town,”) Riki Schneyer (“Blue Diamond Mines,”) and Kathy Reid-Naiman (“Pretty Betty Martin”) continue the art Ritchie has inspired for the past fifty and more years, and kick no small amount of major vocal arse in doing so.

Sam Amidom (“The Cuckoo,”) fiddler Matt Brown (“Golden Ring Around the Susan Girl,”) and Rachael Davis (“One More Mile,”) and others including LePrelle, bridge the generations between themselves, Ritchie (who is now 92) and the original inspiration for these songs.

Tying things together, Kathy Mattea performs “Jubilee” with Ritchie’s sons Jon and Peter Pickow, who also appear with Kenny Kosek on “Last Old Trains A-Leavin’.” Suzie Glaze, who once appeared as Ritchie in a stage production, performs a telling version of “West Virginia Mine Disaster.” The Ritchie Nieces contribute “Twilight A-Stealing,” a song Ritchie writes that her family always sang together at the close of their evening porch sing-a-longs.

Ritchie herself appears twice. A delightful 1985 rendition of “Who Killed Cock Robin” (with contemporary Oscar Brand) is light and companionable. A final ’round’ of “The Peace Round” from 1992, augmented with the voices of many who appear throughout this wide-ranging tribute, closes the album on more pensive notes.

For those so inclined, Schneyer’s “Black Diamond Mines” isn’t the only song that includes a taste of bluegrass, but it is the one that most strongly embraces the sound. Cathy Fink and Marcy Marxer’s “My Dear Companion” flirts along the edges.

Like Ritchie, Dale Ann Bradley is from Berea, Kentucky, and the five-time IBMA Female Vocalist of the Year can’t help but have some ‘grass in her approach. Here, Bradley teams with Alison Brown and the Bankester vocalists for a take on “Go Dig My Grave,” and this take should find favour with those who appreciate Bradley’s approach to traditional material. (I have another paragraph or three about this fragment of “The Butcher’s Boy” available, but I had best leave that treatise to scholars.)

One can be forgiven for believing that Jean Ritchie only sang traditional folk music. ‘Folk’ is now a near meaningless catch-all, but descriptive musical terms once meant something. Ritchie herself once quite ardently distinguished her traditional mountain, folk, and old-time music from modern sounds that emanated from southern cities. In her liner notes to the 1962 album Precious Memories, Ritchie wrote:

But, my friends will say, is this folk music? Perhaps not, by the strictest scholarly definition. Some have known authors, some have not changed essentially from their original forms; I would call them valuable and interesting period pieces, the natural outgrowth of the older folk music of the region… But these songs are more than that; they are brimming over with the simple basic emotions that touch us all.

Ritchie was writing about her set containing “new hillbilly” and “city” songs like “The Great Speckled Bird,” “The Wreck on the Highway,” and “Bury Me Beneath the Willow,” songs that would—through their very pervasiveness, and no matter who originated them—become standards of country and folk repertoires, as ‘folk’ as any song that had traveled from Europe.

Strange then that some fifty years later she might have just as accurately been writing about this uniformly outstanding tribute.

“Generations” by the Bluegrass Brothers

The Bluegrass Brothers
Generations
Mountain Fever Records

4 stars (out of 5)

By Larry Stephens

Slip this CD in your player and you know from the first bars that this is bluegrass, no quibbling, no doubts. You can get a sense of their energy by looking at a performance from a few years back.

The original members of the band are Victor (bass and vocals) and Robert (banjo and vocals) Dowdy. Victor sings lead on “The Merger,” by Junior Sisk and his father Harry.  As expected, the instrumental support is top-notch. The mix is good and their version of the song isn’t far removed from a Junior Sisk rendition. The vocals are pure rural country and could be nothing but bluegrass. Robert’s vocals are closer to a balladeer and he could do country music as easily as bluegrass. “One More Mountain” is one of the best songs on the CD.

The band now includes Victor’s sons, Steven (guitar), and Donald (mandolin). Steven enjoyed a stint with Junior Sisk’s band while Donald spent time with James King. King and Sisk are both strong bluegrass performers and their bands are an excellent way to learn the bluegrass trade. Steven sings lead on a James Lilly number, “Blue Ridge Mountain Man:

Fourteen dogs, a wife and kids

He’s doing the best he can

Workin’ all day, huntin’ all night,

He’s a Blue Ridge mountain man

One of Steven’s hobbies is coon hunting and, having spent many hours crossing hollers in the dark myself, the song strikes a chord with me. “Memories Of My Childhood” features Donald on lead. This is another excellent song and he sings it well. He also sings one of his own compositions, “Moonshine Man,” proving to be a capable composer with lyrics as well as music. This is a good song that should find its way into many jams.

They reach over to the country side with John Conlee’s “Backside of Thirty.” Victor’s lead on this number dials back the folksiness of his vocals and he turns in a good performance of this country hit. Another good number is J. C. Radford’s prison song, “[Wearing a] Ball and Chain.” Chris Hart plays resophonic guitar with the group and composed a good disaster song, “When The Mountain Fell,” describing the disaster in Nelson County, Virginia in August, 1969. Another good song that could cross to the country side is “Don’t Bother To Waste My Time.”

If you like your bluegrass the way it was done by Monroe, Martin and Flatt then you’ll enjoy the Bluegrass Brothers.