Month: November 2009

The Strolling Scones recreate a ’60s vibe while writing songs that are fresh and new. For instance, if the 12-string on “Any Time She Passes By” doesn’t bring to mind the Byrds, you’ve never heard the Byrds. “Lifeguard at Bikini Beach” has a great lyric and tremoloed intro with vocals that sound straight out of a John Phillips arrangement. “Takin’ ‘Em On” is a sort of psychedelic rave-up that has contributions from a wah’d guitar, a steel guitar, and what sounds like a five-string banjo. It’s imaginative even as it looks back.

There are also funky rockers like “Trim Rigged Cat.” The goofy lyrics and retro-aural experimentation is further evident on songs like “Medicine Man,” which appears to be an anti-drug message. It and others have Rick Stockton playing sitar to great effect beyond simply providing the ’60s feel. Stockton’s guitar work is first-class throughout, whether evoking jangly folk-rock (“You Better Hold On”) or blues-rock (“Gypsy Fever”).

Vocals are handled by several bandmates, male and female, who also do well recreating the ’60s vibe with glorious harmonies that bring to mind the best of that bygone era while still sounding new and fresh.

It’s easy to be cynical about the concept here, but one listen puts that to rest. It’s good “new” music that recalls a past time.

This article originally appeared in VG‘s Dec. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Though they call their music “outlaw acoustic” and they include Radiohead
and Gnarles Barkley along with Earl Scruggs and Alison Krauss as inspirations, Cadillac Sky’s music is far closer to roots bluegrass than pop poop.

This five-piece band is fronted by 33-year-old mandolinist/vocalist Bryan
Simpson, who wrote 11 of the 14 songs here. He’s joined by Matt Menfee on banjo, piano, and vocals, Mike Jump on guitar and vocals, Ross Holmes on fiddle, viola, guitar and vocals, and Andy Moritz on upright bass, cello,
and vocals. While they may be acoustic bluegrass musicians, they draw heavily from contemporary culture. And while the band’s spiritual center may guide their music and their lives, it’s not worn on their sleeves; Gravity’s Our Enemy hasn’t a single hymn, gospel song, or mention of the big fellow upstairs. The band admits to having progressive leanings, but also notes that it is “trying to find our own voice and not be flimsy retreads of New Grass Revival or Nickel Creek.” Unlike those bands, Cadillac Sky has a more gritty organic and macho edge. Instead of “Ode to a Butterfly,” Cadillac Sky serves up “The Wreck” and “Thank You Esteban.” The latter is a romping instrumental that has nothing to do with the late-night infomercial guitar-slinger, but does have a rolling melody line as fluid as Nickel Creek’s “Ode.”

Bill Monroe often talked about how bluegrass music had to evolve to
remain vibrant, and Cadillac Sky may be the first true 21st-century bluegrass band. Its music embraces all the traditional fundamentals but includes and acknowledges today’s technological world. This combination produces music every bit as powerful as anything from the Big Mon himself.

This article originally appeared in VG‘s Nov. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Few sounds match that of a B-3 combined with a six-string, and the latest from organist Vince Seneri gives Paul Bollenback, one of today’s best jazz guitarists, a chance to shine.

Musically, there are few surprises here, but the execution of originals and chestnuts by the likes of Johnny Mercer and Jerome Kern bring goosebumps to the flesh. The take on “Dearly Beloved” is a perfect example; played fast in essentially a classic organ trio setting, Bollenback shines while offering the works – single-line solos, octaves, chords, and everything in-between. He even trades eights with the organ and drums, and it’s pretty obvious a good time was had by all.

Every cut on the album carries that same “good time” vibe. The Latin funk of “Passion Dance” lets everyone take a solo, and they’re all great. Same goes for “Renegade Man,” where the group goes out of its way to avoid clichés on this light, bluesy swinger that surprises and pleases. And while this may not be his record, Bollenback proves that when it comes to traditional jazz, there are some real champions among the younger generation.

This article originally appeared in VG‘s Jul. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

The expression “born into the business” applies to Ralph Stanley II. The son of Ralph Stanley and a nephew of Carter Stanley, “Two” as he’s often called when in his father’s presence, is the direct inheritor of a monumental body of American musical tradition. Having spent nearly 15 years as the lead singer in his father’s band, Stanley has had ample opportunity to soak up the subtleties of his father’s unique and pioneering form of mountain music.

This is Stanley’s fifth solo release, and instead of remaking country standards, here he applies his traditional approach to contemporary tunes by Lyle Lovett, Elton John, Fred Eaglesmith, J.P. Pennington, Townes Van Zandt, and other modern songwriters. And Stanley’s versions don’t sound radically changed from the originals, even if the nuanced changes do remarkable things; Lovett’s “LA County” retains its tempo, but fiddle and banjo vamps replace the synthesizer in Lovett’s, instantly setting the song back 50 years.

Stanley can deliver a song with an emotional impact that eludes many euphonic and more radio-friendly vocalists. Like Willie Nelson, he doesn’t do much when he sings, but his delivery connects with the song in ways fancier voices usually don’t. Accompanying musicians take their musical cues from these simple vocals. Hot pickers including Cody Kilby on guitar, Randy Kohrs on dobro, and Adam Steffey on mandolin all play with noteable restraint. Every solo emphasizes the tune’s melody and rhythmic skeleton rather than going into uncharted waters.

Some solo albums showcase how far from their usual material an artist can get. This One is II takes a very different path as Stanley interprets modern material in an

This album has an instant familiarity, and Leon Ware’s background makes it easy to see why – he has written and produced music for the likes of Quincy Jones, Maxwell, the Average White Band, and many more. He also wrote and produced Marvin Gaye’s I Want You. And his latest work harkens back to the sort of soul in which Gaye specialized. The groove is the thing on most of those records, and Ware’s lyrics and vocals, about love and relationships for the most part, glide effortlessly over those grooves. As with any record of this nature, the rhythm section is important, and Teddy Campbell (drums) and Alex Al (bass) do most of the work. Guitar chores are ably handled mostly by David Foreman, with Rob Bacon and David T. Walker manning the six-strings on the remainder. Walker shines on “Just Take Your Time,” which features a fine intro where Walker weaves in and out of the tune, taking the listener on an easy-to-follow soul-guitar journey.

But Ware’s writing and co-writing highlight the record. “To Serve You (All My Love)” is the kind of pop/soul tune that was pushed off the charts with the advent of hip-hop. Same for “A Whisper Away,” another Gaye-style groove with prototypical guitar by Bacon. “Loceans” boasts lovely changes, a great hook, and a haunting melody. That love of vocals is evident throughout the record, where layers upon layers of soulful vocals pile into a chorus that sounds like R&B angels.

Ware’s music, while being as old-fashioned as can be in some ways, is a unique sound in the wasteland that is R&B these days.

This article originally appeared in VG‘s Dec. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Bill Monroe never paid much attention to studio recording. He believed bluegrass music was created to be played live. On her latest release, entitled simply Live, Laurie Lewis treats us to a complete performance including between-song banter. If you’ve never had a chance to hear Lewis play live, now you can!

Lewis has been touring with her current band, The Right Hands, for several years and it shows. They have that “tight yet loose” feel that only comes after hours of playing together. Band members include her longtime collaborator Tom Rozum on mandolin, mandola, and vocals, Scott Huffman on guitar and vocals, Craig Smith on banjo and vocals, and Todd Phillips on bass and vocals. Every member of the band has the opportunity to take the spotlight. Rozum’s lead vocals on Si Kahn’s “Just a Lie” and his swing mando chops on Irving Berlin’s “Without My Walkin’ Stick” are particularly noteworthy. Scott Huffman’s down-home tenor vocals shine on the Billy Joe Shaver song “I’m Going To Live Forever.” And of course, Lewis serves up a large helping of her fiddle and vocals. She includes a number of original tunes including “Val’s Cabin,” “Love Chooses You,” and “Texas Bluebonnets.”

Recorded at three venues in Oregon and Washington by veteran engineer Fred Forssell, Live has all the clarity and dynamism of a studio recording but with that special spark that only happens during a live performance. Especially pleasing is that the crowd is mixed down so its noise never intrudes. Sure, it’s nice to know paying customers had a good time, but I want to hear the music! Listening to this, folks at home will have almost as much fun as the crowd at the show.

This article originally appeared in VG‘s Aug. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.