Tag: bluegrass

Review: Irene Kelley’s “Pennsylvania Coal”

 in Nashville music, Reviews, Songwriters

Irene KelleyBy Ken Paulson

This should be a very good week for Nashville singer-songwriter Irene Kelley.

On Tuesday, Feb. 11, she’ll drop by to perform at Grimey’s record store in Nashville, followed by a full show on Friday at the legendary Station Inn.

Best of all, this is also the week the world will get to hear her remarkable new album Pennsylvania Coal, which just entered the Americana Music Association airplay chart.

From the back cover depicting her coal-mining grandfather to “You Are Mine,” the closing track written and performed with her daughters, Pennsylvania Coal is fueled by family.

“Angels Around Her” warmly recalls Kelley’s mother, “Pennsylvania Coal” honors her grandparents, “Sister’s Heart” is about her loving sister and “Garden of Dreams” is for her daughters Justyna and Sara Jean.

Yet the first two tracks – both written with Peter Cooper – may have the most universal appeal. “You Don’t Run Across My Mind,” distributed as a single, is about a relationship that lingers in your mind long after it’s over. “Feels Like Home” delivers the familiar “You can’t go home again” message  in a fresh way.

The album includes co-writes with David Olney, Thomm Jutz, Justyna and other fine writers, plus harmonies from Trisha Yearwood on “Better with Time.

Kelley’s voice and the intimate instrumentation are a perfect fit on this compelling, touching album.

While many will see Pennsylvania Coal as a bluegrass album,  it’s for anyone with a love of strong, evocative songwriting. Highly recommended.

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Review: The Whiskey Gentry’s “Holly Grove”

 in Reviews

By Ken Paulson
whiskeygentryIt’s that time of the year when we rush to catch up with particularly worthy albums that we never quite got around to reviewing. Case in point is the Whiskey Gentry’s Holly Grove, the second album from the Atlanta-based band.

The Whiskey Gentry melds high-energy bluegrass and traditional country with some attitude, opening the album with heartbreak and honky tonk on “I Ain’t Nothing” and closing with “Here’s Your Song,” presented with the hope that “it finds you in the gutter or in bed with another or wherever the hell you are.”

It’s an album full of impeccable playing, some unexpected themes (“Particles” and the title song) and impressive vocals from Lauren Staley. To top it all off, there’s the surprisingly fresh cover of Peter Rowan’s “Lonesome L.A. Cowboy,” first recorded by the New Riders of the Purple Sage on their Adventures of Panama Red album in 1974.

Here’s a clip of the Whiskey Gentry in their appearance last year on Music City Roots:

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The Steep Canyon Rangers’ “Nobody Knows You”

 in Americana Music, Reviews


By Joe Ross— Years ago, I predicted that by the time the members of the Steep Canyon Rangers were thirty, they would be well-known far and wide for their brilliant performances and excellent recordings. Now this tight unit from western North Carolina could be one of the most recognizable bands in bluegrass today. Besides having talent and youthful appeal, their visibility was boosted by being Steve Martin’s backup band. They were nominated for a Grammy  for their 2011 album collaboration with Martin called Rare Bird Alert.  Following some excellent releases on Rebel Records, the band now debuts on Rounder.

The band’s certainly been on a fast and nearly vertical track since their 1999 formation and  first gigs at the Mellow Mushroom, a pizza parlor in Chapel Hill, N.C. Since going full-time in 2001, the young, hard-working and prolific band toured heavily. By 2006, they had won IBMA’s Emerging Artist of the Year Award, and 2011 brought them the organization’s Entertainer of the Year Award (with Steve Martin).

Now Woody Platt (guitar), Mike Guggino (mandolin, mandola), Charles Humphrey III (bass), Graham Sharp (banjo, guitar), and Nicky Sanders (fiddle) are riding the wave,  but not resting on their laurels. Platt does most of the lead singing, and the others sing harmonies. I’ve always enjoyed this band’s appealing delivery. characterized by power, passion, emotion  and drive.

With all the same splendid ingredients of previous releases, Nobody Knows You (named for a stout Colorado beer) takes the soulful band to an even higher plane of contemporary bluegrass. The ingredients are all here: a presumably higher budget for recording and production (with 9-time Grammy winner Gary Paczosa) and the  kind of experience that allows them to capitalize on their personalized sound with originality, unique rhythms, dynamics, moods and syncopations.

For example, “Between Midnight and the Dawn” has a creative, conversational call-and-response arrangement. The high-stepping “As I Go” starts with a rousing a cappella quartet before raising hell. Besides the material, this set tells me they also still have the right attitude and gumption to succeed.

If anything’s changed over the years, it’s the  continued development of an adventurous and sensational signature sound that allows them to “cross-market” the band to places where the music might not regularly be heard. The band also doesn’t shy away from adding some less traditional bluegrass instruments into their mix (“Easy to Love” has Jimmy Wallace’s piano; the closing “Long Shot” has John Gardner’s drums).

Seven of the songs on this album are originals written by Sharp. “Knob Creek” is an evocative Guggino instrumental that the band really taps for its minor-keyed emotion, and Humphrey had a hand in writing three (“Natural Disaster,” “Summer Winds,” and “Rescue Me”). Charles’ songwriting collaborators include Jonathan Byrd and Phillip Wofford Barker.

One soulful song, “Reputation,” comes from the pen of Tim Hardin. “Open Country” is a standout track with guests Jon Randall (guitar) and Randy Kohrs (Dobro). It’s nice that lyrics are included in the CD jacket. Now that the Steep Canyon Rangers have achieved great success, I wonder if they’d consider repaying the genre that brought them success by recording a traditional roots or bluegrass gospel album. Regardless, I look forward to their future forays into progressive contemporary bluegrass.

Merl Johnson’s “A Better Man”

 in Americana Music

By Joe Ross

– Everyone’s heard of Merle Haggard and Merle Travis, and now it’s time to get acquainted with Merl Johnson. Growing up in Woodbridge, Va. about 20 miles southwest of Washington, D.C., the young musician accompanied his dad to many festivals, concerts, and jams. Merl took to music early on, appearing on his first radio show at age six. He also had the opportunity to travel and play with such legends as Dave Evans, James King, Frank Wakefield, Charlie Waller, the Stoneman Sisters, Gillis Brothers, Junior Sisk, Don Stover,Joe Meadows, Bobby Hicks, Buzz Busby and Bill Harrell.

Blessed with a smooth voice and talent for fiddle and mandolin, Merl Johnson is now “A Better Man,” knowing that he can succeed at about anything he decides to take on. Perhaps that’s why he’s relocated to Asheville, N.C., where he plays fiddle with Travers Chandler & Avery County, a second-round nominee for IBMA’s “Emerging Artist of the Year” Award. While that bandemphasizes “Baltimore Barroom Bluegrass,” Johnson’s solo album displays his own versatility and eclectic tastes. Yet he never forgets his upbringing and influences with songs like Carter Stanley’s “Sweetest Love,” Bobby Hicks’ “Angel’s Waltz” or a ballad about a 1970s murder spree in Richmond, Va., “The Briley Boys,” written by Bob Perilla.

“In Those Hills” and “Power of Prayer” were penned by his father, and Merl shows his own hand at instrumental tunecrafting with “Amandalyn” and “You’ll Find Monroe WrittenThere.” Fans of fine bow work should tune into the slow triple fiddled closing rendition of Peter Jung’s waltz “Far Away.”

Merl Johnson has developed a fairly extensive network of pickers in his
region. For example, banjo-player Dick Smith makes his home in Alexandria, Va. and has worked with The Country Store, Del McCoury Band, Country Gentlemen, Lynn Morris Band, Bill Clifton and Mike O’Reilly.

On “Better Man,” we also hear guitarist Danny Knicely, another well-rounded and proficient picker from Virginia’s Shenandoah Valley. The album also features Stefan Custodi (bass), Jay Starling (Dobro), Brennen Ernst (clawhammer banjo on “Dance Around the Daisies”), Tad Marks (fiddle on two cuts) and Jenny Leigh Obert (second fiddle on four cuts.)

Vocal harmonies are laid in by Jay Starling and Tom Mindte. Their chorus blends work better on some songs than on others, but we certainly appreciate Mindte’s support of young up-and-comers like Merl Johnson on his Patuxent label.

“In Those Hills” is a song that speaks to Virginia’s beauty and color, and this CD illustrates that Merl Johnson’s music from the area is also
very special.

Review: Carolina Road’s “Back to My Roots”

 in Americana Music, Reviews

By Joe Ross

It’s been about five years since I reviewed Carolina Road’s two releases on Tom T. Hall’s Blue Circle Records label. I found the hardworking band from North Carolina to be fully dedicated to presenting a traditional bluegrass sound with a copious amount of contemporary charisma. Now associated with Rural Rhythm Records, Back to My Roots is the band’s second release on that label. While the band has experienced a few personnel changes on guitar and bass over the years, the core of this group remains Lorraine Jordan (mandolin, vocals), Josh Goforth (fiddle, vocals), and Ben Greene (banjo, vocals). They bring strength and stability to the table. The band’s newest members are Tommy Long (guitar, lead vocals) and Eddie Biggerstaff (bass). Both have plenty of experience and fit right in.

Lorraine or Tommy had a hand in the songwriting of three numbers (“Back to My Roots,” “Granny’s Garden,” “Cold Carolina Snow”), and the title cut recalls the country road, whippoorwills, hilltops, meadows, summer breeze and simple things from our past and upbringing. The rest of their set comes from a wide variety of suitable writers, including the Louvin Brothers, Clyde Moody, Mack Magaha/Don Reno, Randall Hylton, and Tom T. and Dixie Hall. Of special note are those two songs (“The Hills of Home,” “Sing a Bluegrass Song”) from fellow North Carolinian A. L. Wood, an expert banjo player and singer who recorded with his Smokey Mountain Boys on the Rebel label back in the 1970s. The Halls’ “A Light in my Window, Again” was inspired by Kentucky Governor Paul E. Patton’s speech at the Bill Monroe homeplace dedication in Rosine, Ky.

“Back to My Roots” indicates that Carolina Road is still proud of its traditional music foundation, but the band’s character and persona are much deeper than just the solid presentation of a few traditional numbers. They also have an affinity for newer tunes from contemporary writers. It’s a propulsive and potent combination. Carolina Road doesn’t have the intensity of Monroe’s high lonesome, but they have great familiarity and knowledge of the style. They comfortably and successfully incorporate many elements of the traditional sound, capture the heart of the genre, and tap into its soul with their accomplished musicianship.

Ricky Skaggs interview: Staying true to faith and music

 in Americana Music, Nashville music, Reviews

By Terry Roland
– Ricky Skaggs has made several critical transitions in both his musical and spiritual lives. Although few can argue with his success, there have been some detours and U-turns along the way. This is one of the many things that make Ricky Skaggs such a compelling and enduring figure in American music. As a carrier of the ‘80s and ‘90s ‘new traditionalists’ label in country music, he was once given the Country Music Association’s Entertainer of the Year award.

He’s also won multiple Grammy awards over the years, no small accomplishment for a popular country artist who devoted himself to artistic integrity while piling up country hits like Guy Clark’s “Heart Broke.” In the mid-‘90s, he returned to his bluegrass roots in response to his own spiritual calling and in order to help carry on the legacy of bluegrass music created by his friend and mentor, Bill Monroe. Ricky has established his own family record label and become one of the elder statesmen of the genre. In this interview, he gives honest insight into the motivation behind his career decisions and how his own spiritual commitment and love of good and authentic music has given his career direction and depth.

TR: So you just finished a tribute album for Linda McCartney?

RS: Yes. The track came out good … The album was about all done and I got a call the last minute. They needed an extra track and somebody said, ‘Let’s get Ricky.’ I had just lost my sister to cancer. It was such a God thing. You know, you get a wink from God from time to time. She’d just died on the 12th of September. They called the next week for the track. We went into the studio. What you hear in that song is just the joy. It’s my heart being joyous for my sister. These were God moments. It was really healing for me. Hopefully it will raise some awareness about cancer.

TR: Tell me about the new Christmas album.

RS: It’s a continuation of the first one. During our first year out doing Christmas shows, the kids were much younger. It was 2004. We were doing home family projects. We liked to just sit around doing holiday songs. I grew up in Kentucky and my mom would sing all the time. We felt like we could do a good record if we had the chance to get in the studio.

During early 2004, we were doing shows with the Chieftains. My band was in a separate bus. The kids were with us. Sharon and the kids. The next day in Virginia, we got a call that my bus had caught on fire. We had to send another bus to pick up the band and they were going to be late. A friend of mine, Jeffrey Taylor, an accordion player, Penny Whistle, me, Aaron, Molly and Luke were at the show. We panicked and figured we had to do some kind of show until the band got there. Molly played the claw hammer banjo. We put together a 30-minute set. Molly played and I sang and the time just breezed by. We told the crowd what was happening so they were on our side from the first time out. What they were seeing was our living room. We didn’t even do Christmas songs that time, just gospel. My agent Bobby was at the show and he mentioned “If you could do Christmas music, I could book that.” So it all started with us catching fire going to Atlanta.

TR: A couple of decades, ago you were one of the leaders of the New Traditionalist movement when country radio was actually playing some pretty fine music. You were given the Entertainer of the Year award by the CMA and then, you turned your back on the whole scene and went back to your roots. What  happened?

RS:  You’re talking about 1995. I don’t know what happened. It was an accumulation of a few things. New York wanted me to do more pop-influenced records. Walter got me on the phone and said “I know you love country and bluegrass, but we got to get you doing some pop records.” I said I’d love to do that as long as it’s the kind of music that gets people to cross over to us, not us to them. But it wasn’t going to work that way.

I realized it would be really hard for me to do something that’s not in keeping with my ear. Rick Blackburn had been behind me there at Sony. But he left and there was a new head of music. So things changed. Also, well, it was a lot of things. I’ve got my faith and convictions. My oldest son was shot when a driver fired a gun into his car. He was okay, but my faith really kept me grounded.

The media would ask ‘What’s up with you?’ and they’d ask me about my faith. They knew the right questions to ask. The label would get annoyed and I’d tell them, “Tell the interviewers not to ask me these questions.” You know, you either believe in Christ or not. I can’t ride the fence. I have to be true to myself and to God, and I’ve got to tell the truth. I was being honest and truthful about my faith.

In 1996.  Mr. Monroe and my dad both passed away. Country music was becoming a big circus, just a tent show.  It was just not ever me. I was never tempted to be that kind of entertainer. I knew I wasn’t going to last in a situation where there was that kind of expectation.

What I really always wanted to was be a concert artist, put on a good show just for the music. I chose, after Mr. Monroe passed away, to try to help fill the void of leadership in bluegrass. I wanted to take my place at the table of this business. I wanted to try to raise up younger kids in the music. I got Del McCoury signed on my label. He did three albums with us. I did the same with Jerry Holmes and Blue Highway. We’ve had quite a few artists on the label. That’s why I wanted to go back to my roots. I did a solo record of songs my dad loved. It was really a tribute album. He always played good music for me.

You know, there were all of these people like Mr. Monroe and Flatt and Scruggs who I had close intimate friendships with. The Bible says ‘Honor the elders and give them their due.’ That’s what I wanted to do. My dad always had these guys in front of me who were 75 and 80-years-old in the mountains of Kentucky. I’d be sitting there with great fiddlers like Doc Holcomb in eastern Kentucky. That old mountain music I love so much. I even brought it into the studio with Bruce Hornsby.

TR: That’s right; you did an album with Bruce Hornsby.

RS:  Yeah. Bruce just loved the old Kentucky mountain music. We had not really put anything together for that record when we met in the studio. People were asking us to come up with some kind of ‘80s Firefall sound. I asked Bruce, ‘Ever hear of Roscoe Holcomb? He smacked the table and said “That’s what interests me, that’s what I want! ” I wish Bruce would’ve been on Sony. It took more money to go through all of the lawyers and red tape than he and I made on the whole record.

TR:  We’ve talked a lot about spirituality. Can you tell me your thoughts on spirituality and creativity?

RS: Well, I have to go back to realizing God is the creator of all gifts. I believe music is part of God’s creation and his nature. Being a Christian and believing in a loving God, I have passion in my heart for God. Christ paid a price I couldn’t pay; he took my sinful nature from me on the cross. Music is a way to express that love to people who don’t know God. I realize what people love is God in me and they don’t even know it’s him. When I’m putting a record together I pray and ask God to play me like an instrument, for that to come through the record, the mandolin or the fiddle. If he lives in my heart, his presence will come out of me either through my hands or my mouth. I just need to be very open and conscious of his presence in the music.

I did a record with Gordon Kennedy called Mosaic. The quality of the songwriting is off the scales. It’s really more pop than anything I’ve ever done, but I felt I had to get out of my boat of safety, out of the security of the bluegrass boat. It’s almost like old Beatles. It’s both acoustic and electric. I think it’s the most important record I’ve ever done. I’ve never done a record where people would call and order 100 copies just to give away to family and friends.

TR: Well, Ricky. I appreciate so much the interview. I look forward to seeing you when you come to California!

RS: Yes. Thank you!

Nell Robinson – On the Brooklyn Road

 in Reviews

You have to love Nell Robinson’s story. From a booklet accompanying her new CD “On the Brooklyn Road: “So I just turned 50 and one of my good friends characterized my new-found devotion to music as a midlife crisis. I sang by myself in my car for 30 years and ventured out to sing in public at age 45. All I can say is, if you have music in your soul, bring it out. It has changed my life.”

OK, I’ll admit that’s not encouraging. Midlife crises can spur inappropriate relationships, red sports cars and bad poetry. But in this case, it inspires a warm and engaging folk/bluegrass album.
It’s a mix of originals and well-selected covers like Loretta Lynn’s “I’m a Honky Tonk Girl” and “Turn Your Radio On.”
The latter figures prominently in a piece Nell Robinson wrote about her appearance on Praire Home Companion and the loss of her father. It’s very touching.
The album includes two bonus songs recorded by the Henriettas, a duo consisting of Nell and Cary Sheldon that channels the DeZurik Sisters, a 1930s duo also known as the Cackle Sisters. Very entertaining.