The 5 String Flamethrower
5 stars (out of 5)
By Aaron Keith Harris
Rob McCoury’s first solo banjo project has been a long time coming, but it was worth the wait. As five-stringer for what is unarguably the genre’s band of the last 25 years, he’s one of bluegrass music’s most important practitioners. Yet he is seldom nominated for individual awards—not unlike a left tackle on a great football team. This is partly because of his laconic personality and stage demeanor, but mostly, I think, because of his style.
McCoury doesn’t dominate like Earl Scruggs or JD Crowe—though he could, as evidenced by a his takes on Crowe’s “Blackjack,” and Scruggs’ “Foggy Mountain Chimes.”
Rather, his strength is—with the left hand as well as the right—in the sections when the banjo is not pulling the sled—fills between and under vocal parts, deft turnarounds between solo breaks by other instruments, and contrapuntal lines played on the low side of the neck.
No wonder, then, that the two other legendary pickers he singles out for veneration here are Don Reno and Sonny Osborne.
McCoury rips through Reno’s “Charlotte Breakdown” and lays down a richly textured “Limehouse Blues”(an old jazz tune adapted by Reno for bluegrass banjo), but it’s his romp through Reno’s ebullient, stringbending “Banjo Riff”—exactly the type of tune that makes people fall in love with the banjo—that would be my first spin from this disc were I still a deejay.
The Sonny Osborne tunes are, appropriately, accompanied by pedal steel (Tim Sergent) like many of those middle-period Osborne Brothers tracks were. McCoury picks (in both senses of the word) two of Sonny’s most beautiful compositions,the Marty Robbins-tinged “Jericho” and the gorgeous “Siempre,” both with a Tex-Mex flavor that shows what imaginative musicians can do within the bounds of bluegrass.
McCoury also extends some professional courtesy to two lesser known pickers who clearly qualify as “banjo player’s banjo players” with Walter Hensley’s “Sugar Creek” and Larry Perkins’ “Northwest Passage.”
What makes this disc stand out from many other sideman solo efforts is that McCoury dances with them that brung ‘im, eschewing the stable of hired guns that we see over and over in favor of the Del McCoury Band, which allows Rob to do best what he does better than anyone—use bluegrass music’s essential instrument to make a bluegrass band sound great. Take a listen to the Del-penned “Caracas,” which stands among the best of DMB’s hard-edged instrumentals.
This 15-track, 41-minute album has two vocal numbers: Flatt & Scruggs’ “I’ve Lost You,” with Del on lead vocal and Bobby Osborne on tenor harmony and mandolin, and the Osbornes’ “We Could,” on which Sonny Osborne emerges from semi-retirement to join Bobby, Rob, and company. “The 5 String Flamethrower” should firmly establish, especially for those who hadn’t considered it yet, Rob McCoury’s virtuosity.