Month: October 2012

Marshall Chapman wrote most of the songs here in tribute to friend (and former guitarist) Tim Krekel, who died of cancer in June of ’09. The result is at once beautiful and very sad.

Krekel played on the title cut, his twangy electric guitar, along with floating dobro and steel from Tommy Spurlock, make it the perfect opener. The songs that follow become more atmospheric, with Chapman remembering Krekel through various forms of music; “Down To Mexico” is bolstered by the guitar of Will Kimbrough. Krekel’s son, Jason, plays on the very funny “Sick of Myself,” a song written by his dad and Chapman that describes the musicians wanting to trade places. “Tim Revisited” and “I Can’t Stop Thinking About You” are reflective pieces with soulful vocals from Chapman and more great playing from Kimbrough and Jim Hoke on steel.

The bond between the two is illustrated in the closing track, recorded live during Krekel’s last gig with Chapman. It shows an amazing band playing old fashioned bar boogie with nasty slide from Krekel and great singing from Chapman.

Given the sorrow associated with it, Big Lonesome can be a tough listen. But the obvious affection felt for Krekel by Chapman and the contributing musicians is nothing short of triumphant.

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

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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