Songs of Lost Yesterdays
4 stars (out of 5)
By Donald Teplyske
Coming out of Massachusetts and working primarily with members of her New Velvet Band, Laura Orshaw has released a prime little bluegrass album. With material well-representing its Songs of Lost Yesterdays title, the album is comprised of several well-known songs and a pair of self-written tracks.
Laura Orshaw, a Pennsylvania native, is a bluegrass veteran having played with the Lonesome Road Ramblers and others while recording, instructing, and gigging on her own. This new recording, her third, features Orshaw’s spirited and bright lead vocals and lively fiddle playing within a strong bluegrass configuration.
Joining Orshaw are members of the aforementioned New Velvet Band, a group Orshaw regularly leads: Matt Witler (mandolin,) Catherine Bowness (banjo,) Tony Watt (guitar,) and Alex Muri (bass.) There is also effective harmony vocals contributed by album producer Michael Reese (including on the album’s appealing lead track “Going to the West”) and her father Mark Orshaw.
While the album is focused on a theme present since bluegrass music’s earliest days—changing times—Orshaw’s approach to the music is compatible with today’s audience. Balancing up-tempo but not necessarily upbeat fare with softer, more restrained numbers, Orshaw has well-sequenced the album.
Orshaw’s original, “Guitar Man,” gives the album its name and gently reveals the ramifications of falling for the wrong picker; it is an aching performance that should find an audience. The second original, “New Deal Train,” revisits the spirit of Guy Clark’s “Texas 1947” within a broadened contemporary context.
One of the many highlights is the title track from a favoured Charlie Moore album, The Cotton Farmer. As does the finest bluegrass, this rendition snaps along with its tale of the old home place’s memories and neglect.
Orshaw also ably delves into the songbooks of Bill Bryson (“Love Me or Leave Me Alone”), Norman Blake (“Uncle”), and Peter Rowan (“Wild Geese Cry Again,”) providing excellent performances of familiar songs.
The seldom covered Hazel Dickens masterpiece “Cold Miner’s Grave” is the album’s strongest performance. The instrumentation is absolutely gorgeous with mandolin notes leading the way, especially early in the song, and when Orshaw sings lines like “Is this how we remember all the sacrifices he made,” no little bit of Dickens’ passion and strength is communicated.
With Songs of Lost Yesterdays Laura Orshaw demonstrates that exceptional bluegrass music can be and is produced by mindful talents with a do-it-yourself outlook, no matter their regional origin, budget, or prominence within the mainstream bluegrass hierarchy.