Author: Steven Stone

The teenagers who began the Bearfoot Bluegrass Band in 2006 have matured into young adults. As they’ve matured, so has their music. Even their name has changed slightly; it’s been shortened to Bearfoot.

The name change coincides with a change in personnel. Two of the original band members, mandolinist Jason Norris and singer/fiddler Angela Oudean, have joined forces with songwriter/guitarist Nora Jane Struthers, singer/guitarist Todd Grebe, and bassist P.J. George to form the current band.

Struthers’ career has been on a steady ascent since her 2010 solo album. American Story features songs she co-wrote with Claire Lynch and Tim O’Brien – pretty heady company. Besides her songwriting skills, Struthers has a soaring soprano, which melds beautifully with Grebe’s and Oudean’s voices – clearly evidenced on the opening “Tell Me A Story,” which combines sensibilities of the old Bearfoot Bluegrass with more pop and folk musical textures.

Manned by veteran producer/engineer Brent Truitt, the overall sound is finely honed without being overly slick. Players such as banjo virtuoso Charlie Cushman add some additional parts, but between Oudean’s hot fiddle and Norris’ fiery mandolin, most of the solos are covered nicely by Bearfoot without the need for hired guns.

As young players grounded in bluegrass basics create their own new music, it will keep growing and changing. Bearfoot’s American Story establishes them as one of an exciting new generation of bands dedicated to preserving bluegrass energy while creating a new synthesis of roots with more modern influences. Their results warrant a far wider audience, and this is the perfect album for accomplishing that goal.

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This article originally appeared in VG‘s Jan. ’12 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

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The list of people who call themselves “professional harmonica players” certainly is not all that long. And the number of female harmonica players… well, beyond Stacie Collins, I can’t think of one.

On her third CD, Collins demonstrates not only her ability to blow harp, but her songwriting, singing, and band-leading chops.

Collins’ music is basically Southern blues-rock with a booze-tinged edge. The opening tune, “Hey Mister,” kicks off this CD with a straight-ahead boogie beat and brassy “wall of sound” harmonica. The second tune, “I Won’t Do You Like That,” slows the beats per minute but rocks just as intensely, with sizzling guitars by Dan Baird and Eric Borash pushed along by Jimmy Lester’s drums and Al Collins’ punchy bass lines.

What separates Collins’ music from the hundreds of other Southern rock acts? First, she’s a woman playing music that’s typically the provenance of hairy guys. Second, her music has more subtlety than mere kick-ass bar-band music. Third, her songwriting is also above average for the genre. No, don’t expect her to bare her soul lyrically – most of the subject matter is cheatin’/ lovin’/drinkin’. But Collins knows enough to keep it fresh. Her melodies are bluesy with ample use of the one, four, and five chords. The difference
is the sound of her voice; instead of a big ol’ bullhorn, hers is a more delicate tool, more like what you’d expect from a country singer such as Allison Moorer.

If you’re ready to rock, Stacie Collins is willing and able, with her special honky-tonk recipe.

This article originally appeared in VG‘s Mar. ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Just when you thought you had heard everything that Hank Williams ever committed to tape or shellac, Time-Life and the Williams estate comes up with something new. On their latest deluxe three-CD box they’ve even included the musical equivalent of a baby picture on a fur rug.

Two of the three CDs in this box have been released before as The Health And Happiness Shows by Polygram in 1993. However, in the 18 intervening years, the tools mastering engineers use to remove clicks have improved immeasurably. Admittedly, without comparing them side by side, the sound quality on those discs is very good here. Fans of steel guitarist Don Helms will be delighted by how easy it is to hear his fills. Jerry Rivers’ fiddle is equally well represented.

Williams’ vocals are especially strong here. On “Lovesick Blues,” you can hear the remarkable control he had over his unique yodel. Be forewarned: The clarity and fidelity of this release also extends to Audrey Williams, whose out-of-tune squalling transforms what is an otherwise nice performance of “The Soul Of Man Never Dies” into a hot mess. But if you want high-quality Hank, you get Miss Audrey whether you like her or not (her vocals on “Bluebird on Your Windowsill” are especially egregious).

The recording quality on the set’s third CD is especially poor. The flutter and especially the wow are severe, with the pitch going up and down like a yo-yo while the surface noise threatens at times to overwhelm what little music is present. While it’s historically interesting that Hank Williams chose “Alexander’s Ragtime Band” as one of the first songs he ever recorded, in 1938, that doesn’t mean anyone needs to listen to it more than once, if that.

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This article originally appeared in VG‘s Jan. ’12 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

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The Lonesome River Band has been around for 30 years. And while he wasn’t a founding member, banjo player Sammy Shelor is the de facto leader of the band by virtue of tenure. On their latest album, the band delivers the same driving sound that has made them fan favorites.

The Lonesome River Band’s roster has included bluegrass luminaries including Ronnie Bowman, Dan Tyminski, Adam Steffey, Kenny Smith, Ron Stewart and Rickie Simpkins. The current lineup includes Brandon Rickman (guitar and lead vocals), Andy Ball (mandolin and vocals), Mike Anglin (bass), Mark Hargrove (fiddle) and Shelor (banjo, harmony vocals).

As its oldest member, Shelor is the lynchpin. His right-hand precision infuses every song with a solid rhythmic pocket, and his playing is unique due in part to his ability to be ever-so-slightly on top of the beat without speeding up. Rickman, who has two solo albums under his belt, adds four songs to the mix, including the title tune. His bluesy “Forty Days in The Desert” combines pentatonic licks with old-testament narrative. On “As Wild As I Get,” Rickman weaves a tale of youthful hi jinx with adult love. The melody is hauntingly delicate with perfect harmonies and gently restrained mandolin fills from Andy Ball. Lonesome River’s cover of Ashby Frank’s “I’ve Seen the Blues” combines carefully crafted vocal harmonies with hot solos to form a nearly perfect bluegrass song.

If you are a Lonesome River fan (and what bluegrass fan isn’t?), you’ll enjoy this disc. If you don’t have Lonesome River albums in your possession, it’s time to start.

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This article originally appeared in VG‘s Jan. ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

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First, this Kentucky Thunder has nothing to do with Rickey Skaggs’ band. And instead of bluegrass, they serve up hot-buttered white Southern soul, a la Delaney and Bonnie.

Since the band has four lead vocalists (Etta Britt, Vickie Carrico, Jonell Mosser and Sheila Lawrence – all of whom have angelic pipes), no song is carried by a single one. Rather, every song is shared, lending a fabulous opportunity to compare and contrast. And while none is a big star, all have worked as backup and harmony vocalists for stars inNashville. This is the first recording they’ve done as a group. Backed by a band that included Bob Britt on guitar, Randy Leggo on keyboards, and Steve Mackey on bass, the album captures a live performance atNashville’s 3rd and Lindsey concert club.

Eleven of the album’s 14 songs are originals; Britt’s “I Believe” has a solid gospel groove that chugs along. Carrico’s “Love is a Gift” is a bluesy torch tune with plenty of room for harmonizing. Mosser’s “I Don’t Care Who Knows” is more R&B anthem with a pulsing bass line. And Lawrence’s “Who’s Laughin’ at Who” is a classic rock/gospel/blues he-did-me-wrong revenge romp.

This article originally appeared in VG‘s April ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

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Born inWaco, many of Gibson’s songs are stories aboutTexas; the title tune tells the tale of musicians on the road, using a propulsive beat pushed by electric guitar as it builds to an anthemic chorus. Gibson’s simple phrasing and avoidance of vocal pyrotechnics allows the songs to stand on their lyrical merit.

“Holy Hallelujah” is a quirky commemoration of the fine art of going out with the girls. “Sing Praise” is a Gospel call-and-response tune that harkens to tent meetings in theTexascountryside.

If traditional and country roots music is to survive, young performers must embrace them as musical forms. Scott Gibson is up to the task.

This article originally appeared in VG‘s April ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

 

The Grascals understand that making music professionally is a business, and strategic partnerships are part of being successful. On The Grascals + Friends they partner with some of the biggest names in country music.

Though known as a bluegrass band, the music here is more acoustic and electric country; partners include Brad Paisley, Dierks Bentley, Dolly Parton, Tom T. Hall, Darryl Worley, Charlie Daniels, The Oak Ridge Boys, Joe Nichols, and Hank Williams Jr. The song selections are standard fare – “Folsom Prison Blues,” “The Devil Went Down to Georgia,” “Mr. Bojangles,” “Louisiana Saturday Night,” and “Tiger By The Tail.”

Given the material, this could be a boring album. But the Grascals’ superb musicianship and taste elevates even the most hackneyed tune to earworthiness. “Mr. Bojangles” comes to life thanks to Danny Roberts’ mandolin, Jeremy Abshire’s fiddle, and spot-on three-part harmonies. Paisley’s guitar solos on “Tiger By The Tail” would make Don Rich smile, and while Dierks Bentley’s vocals on “Folsom Prison Blues” may not supplant those of Johnny Cash, they are mighty fine. 

For hardcore bluegrass fans, the original instrumental “Cracker Barrel Swing” is reminscent of the instrumentals on Roberts’ superb solo album, Mandolin Orchard.

Next time you’re in a Cracker Barrel restaurant, forego the fudge at the front counter in favor of The Grascals + Friends. It has lower calories, yet is twice as fulfilling!

This article originally appeared in VG‘s April ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

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Greg Trooper’s music displays a variety of influences – bluesy inflections from R&B coupled with rootsy country melodies and arrangements. On his latest release, he handles most of the acoustic guitar, with veteran guitar-slinger Michael McAdam adding slide and electric guitar.

Co-produced by Trooper, keyboardist Kevin McKendree, and bassist Stewart Lerman, the album’s arrangements are designed to let the songs breathe. “First True Love” features Trooper’s fingerpicked guitar augmented by a spare bass line and minimalist piano and electric guitar.

Steve Earle, Billy Bragg, Maura O’Connell, Vince Gill, Robert Earl Keen, and Lucy Kaplansky have recorded songs written by Trooper. One listen to Upside-Down Town and you’ll know why.

This article originally appeared in VG‘s May ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

On the cover of My Kind of Country, Nathan Stanley looks a bit like Elvis, with big sideburns, slicked-back hair, and shades. But unlike some Las Vegas clone, Stanley was born into bluegrass/ country royalty – he’s the grandson of Dr. Ralph Stanley – and served time with his grandfather’s band, The Clinch Mountain Boys. His latest album salutes traditional country music and features a plethora of Opry superstars.

Accompanied by the likes of Del McCoury, Ricky Skaggs, Little Jimmy Dickens, Marty Stuart, Connie Smith, Larry Sparks, Stella Parton, Patty Loveless, John Anderson, Vince Gill, and of course Dr. Ralph Stanley, Nathan Stanley soldiers his way through 22 country classics. From “Love’s Gonna Live Here” to “A Satisfied Mind,” he enshrines all the songs in arrangements that are half Chet Atkins’ Nashville sound and half Buck Owens’ Bakersfield twang. Most of the songs begin with Stanley singing lead, his voice smooth as a baby’s cheeks, his delivery reminiscent of Willie Nelson.

Stanley isn’t afraid to mess with classics. He does a good job bringing “Act Naturally” back to its roots, while his version of “Long Black Veil” is very unlike Lefty Frizell’s original – he even changes the chord progression. “I’m so Lonesome I Could Cry” gets s-t-r-e-t-c-h-e-d like homemade saltwater taffy, while “May the Bird of Paradise Fly Up Your Nose” gets a hot-country treatment that works nicely. Maybe there’s something to that genetics thing…

This article originally appeared in VG‘s May ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

On his second Red House Records release, Danny Schmidt displays the same level of wit and lyricism that made his last release such an artistic success.

Undoubtedly, Schmidt writes great songs. Man of Many Moons includes 10 new originals and one cover – “Bucket of Rain” by Bob Dylan. His version of this rarely covered classic features his deftly fingerpicked guitar as well as a neat twist to the arrangement that luxuriates in the song’s euphonic qualities. Schmidt also slows the pace a smidgen, which gives it a more wistful character. Schmidt’s own songs share a certain kinship with the Dylan tune, a quirky melancholy that couples humor with sadness in a unique way.

On Man of Many Moons, Schmidt retains much of the alchemic musical formula that made his previous work so listenable. The arrangements are sparse, with no percussion. Schmidt plays acoustic guitar while Will Sexton adds bass and guitar, and Keith Gary plays piano. Raina Rose and Carrie Elkin contribute harmony vocals while singer/songwriter Ray Bonneville adds an occasional harmonica part. Using such a small group adds character and emotional impact.

Schmidt doesn’t have a conventionally beautiful voice. His delivery has a casual directness that penetrates to the emotional center of a song. As singer/songwriters go, they don’t get much better.

This article originally appeared in VG‘s June ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.