Each independent member of Yarn really brings their own flavor to the group, melding it into a treat for everyone's ears. The newly formed band's first release really stunned us at how well they all worked together to create such a great CD. When we first listened, we began reminiscing of times long since past, and musicians that are in everyone's hearts and minds. Each song on this album is catchy and addictive, and they etched themselves into our memory and took up a place in our hearts.

Quentin Foster - RMR Staff

 World famous songwriter, one of Nashville's best, Larry Cordle is back with yet another great album. Backed by Lonesome Standard Time, Cordle really brings his angle on many themes to the table, and does a great job of relaying themto his listeners through his music. Through his many musical experiences in his earlier career, he really brings to life the spirit of varied musical sounds, and blends them all together as he blazes the trail with this spectacular album.

Quentin Foster - RMR Staff

Chris Henry started playing mandolin when he was just nine. A few years later, he took up guitar. By age twelve, Henry was playing, touring and recording with his parents' bluegrass group, Red and Murphy & their Excellent Children. Bill Monroe once heard Chris playing "Rawhide" backstage at the Grand Ole Opry, and the Father of Bluegrass proceeded to put his hat on Chris' head and clog around the room. Thus, the seed for "Monroe Approved" was planted. After moving to Nashville in 2003, charismatic Chris spent a season playing with Dave Peterson and 1946. Now, his solo debut project presents a set of traditional, original, Bill Monroe, and even a Woody Guthrie/Sisco Huston song, "Bed on the Floor." Chris Henry demonstrates his talent with mandolin and guitar, as well as a lead and harmony vocalist ("Listen to the Lonesome Train").

A strong proponent and advocate of Monroe-style mandolin, Chris shows that he has strong mastery of the bluesy scales, hammer-ons, pull-offs, downstrokes, and other techniques that Bill used to evoke so much tone and emotion from his 8-stringed instrument. The ancient tones may be best captured in the traditional "Paddy on the Turnpike," but there are numerous other fiery moments in this album. "James River" was nicely arranged for some hot melodic licks to be traded between Charlie Cushman's banjo, Jason Carter's fiddle, and Chris' guitar and mandolin. Another highlight is the twin mandolins with mandola featured in "Farewell to Long Hollow." That cut features well-known Nashville multi-instrumentalist John Hedgecoth on banjo, who's also seen around town with the Nashville Jug Band, Nashville Mandolin Ensemble and Butch Baldassari Trio. Baldassari co-produced this album, and he appears on that same cut.

Chris Henry also invited some of his family, mentors and other friends to participate. Casey Henry, Alan O'Bryant, or Charlie Cushman pick banjo with precision and fire. Chris says his father Red Henry's "Red's Zeppelin" is his favorite tune. Presumably inspired by guitarist David McLaughlin, "King David" features David's lead guitar work. Chris appears on half of guitarist/vocalist Adam Olmstead's own debut album, and he repays that unpretentious performer by having him sing and play the closing number, "Bed on the Floor." Other guitarists who appear on the album include Roland White, Ronnie McCoury, and Robert Bowlin (the 1979 national guitar champion). Besides Casey Henry, multi-year IBMA bass player of the year Mike Bub lays in that solid low end foundation and cornerstone for each tune. The title cut, an 8-minute medley of three tunes, is a bit problematic due to its length and the overuse of Monroe's voice mixed in from Homespun Tapes' "The Mandolin of Bill Monroe" instructional material. The hidden bonus track that appear when all is picked and done turns out to be Frank Wakefield's "Catnip."

There's much to like about this pleasant and delightful album. The "Monroe Approved" stamp comes with down-home good-time quality assurance. While Bill is gone, I'm sure that Chris and his friends fully certify and warrant this musical undertaking. Mando fans will find the originals to be quite charming. Assertive but still somewhat playful, Chris Henry picks and sings with substance and charm. The various musicians all work well together, and the album emits an air of amiable geniality that characterizes the kinship of family and friends. Just as Bill Monroe was known as "Big Mon," we may some day know Chris Henry as "Big Hen" if he keeps producing music like this.

Joe Ross - rossjoe@hotmail.com

Before playing the Infamous Stringdusters' debut, I wondered what kind of notorious or criminal musical acts that we could expect from the progressive Sugar Hill label. I also pondered if this progressive group of young and proficient bluegrass janitors used mop, vacuum and broom instead of mandolin, fiddle and banjo. It didn't take long to discover that this band's reputation will soon become one of great fame and renown. And the way they "sweep" us off our feet is simply with very solid musicianship and material. The terms that bands dream up to describe their music is interesting. Playing "fearless vibrograss," we immediately sense that these guys have created a sound that is bold, daring and pulsating.

So just who are they? The band's seed was planted when Chris Eldridge (guitar), Chris Pandolfi (banjo), and Andy Hall (Dobro) met in Boston in early 2002 and started performing as Stablehorse. Relocating to Nashville in 2004, the band went full-time with the addition of Jesse Cobb (mandolin), Jeremy Garrett (fiddle), and Travis Book (bass). Their debut album showcases the band's three lead singers (Andy, Jeremy, Travis) and other vocal support from the two Chrises.

The Infamous Stringdusters' musical maturity can be traced to the band members' recording, touring or performing with such noted acts as Ronnie Bowman's Committee, Earl Scruggs, Dolly Parton, Charlie Daniels, Tony Rice, Seldom Scene, Chris Thile, New England Bluegrass Band, Bering Strait, Drew Emmitt, Bobby Osborne, Chris Jones, Audie Blaylock, Lee Ann Womack, Mike Snider, Jim Lauderdale, Melonie Cannon, Fox Family, Valerie Smith, Broke Mountain, and Benny "Burle" Galloway. Wow, that's an impressive list of talented musicians who have taught, mentored and inspired them! We can hear some of their influences in the musical presentation or repertoire of The Infamous Stringdusters. Chris Eldridge is Seldom Scene member Ben Eldridge's son. Besides a healthy amount of fresh, original material, there are interspersed offerings written by Chris Jones/John Pennell, Glenn Garrett (Jeremy's dad), John Mayer, Benny Galloway, and Boston folksinger Geoff Bartley. Thus, they don't shy away from decent singer/songwriter and folk material which allows them to succeed equally well on the bluegrass, jamgrass and folk touring circuits.

Picking and singing like very seasoned veterans with decades of experience, these guys have found an ideal formula for balancing their youthful exuberance, melodic eloquence, and lyrical expression. Their arrangements are dynamic and give all a chance to shine like chrome. Hence, another reference to their string cleansing abilities. In a sense, they are masters of catharsis with an inherent ability to release emotions, create force and relieve tension with their music.

If you're liberal, open-minded and tolerant of new directions in string music, then you'll appreciate what these boys are doing with their vibrograss. If your definition of bluegrass has significant boundaries, then you might equate their infamy with evil. But the long and short of it is that this group has been well received at IBMA's annual convention and trade show. Despite the message in the title cut, "Fork in the Road" indicates this band is both decisive and incisive. The Infamous Stringdusters knows which way they want to go to maximize their potential and reach their promised land full of milk and honey. The Stringdusters' wires are very polished, and I just wonder if they do windows and clean house as well as they pick.

Joe Ross - rossjoe@hotmail.com

Kenny Smith started his music career playing Southern Gospel music in churches. His rock solid guitar work with the Lonesome River Band from 1995-2001 twice led to his winning IBMA's "Guitar Player of the Year." Smith's solo project, "Studebaker," showcased his fine songwriting and wife's soulful singing. A couple years have now passed since Kenny and Amanda turned plenty of heads with their defining bluegrass album, "Slowly but Surely" (Farm Boy FBR-1001), that included band members Ronald Inscore, Jason Moore, Steve Huber, and Ron Stewart. It helped formulate the band's original, contemporary sound characterized by beautiful vocals, expert picking, solid arrangements, excellent repertoire, and high recording quality. It also resulted in the band winning IBMA's 2002 Emerging Artist of the Year award.

A couple years later in 2004, the versatile Kenny & Amanda Smith Band debuted on Rebel Records with their 2004 "House Down The Block" project. Now, in 2006, their first gospel CD, "Tell Someone," introduces us to three new young musicians in the band - Jason Robertson (mandolin), Jason Davis (banjo), Zachary McLamb (bass). All three are very solid instrumentalists, but one minor complaint is that I can hear some of McLamb's strings snapping on the fingerboard of his bass, particularly on the up-tempo numbers. While some of that would be acceptable in a secular bluegrass set, it can be a bit distracting in a spiritually-tinged gospel set. Daniel Carwiles fiddles on seven of the tracks. Most of the band's vocal arrangements are sparse with only Kenny's tenor harmony below Amanda's lead vocal, but six tracks add a third harmony line courtesy of Rhonda Vincent (1 cut) or Wayne Winkle (5 cuts). The opening cut, "Shoutin' Time," illustrates the similarity between Amanda's and Rhonda's voices as they trade lead vocals on the first and second verses. Laying vocal harmonies in below Amanda's high lead gives the band a personalized sound.

The album features standards that Kenny and Amanda sang while growing up in church while also showcasing strong and effective compositions from more contemporary songwriters such as Craig Market's "Mary Had A Little Boy," Clay Hess' "I Know Why," and Richard Gulley's "Till I Get Home." The intent of making this CD was clearly for Kenny and Amanda to reach out and touch people by sharing messages of their Christian faith. Their poignant closer, "Tell Someone How Precious He Is," embodies the overriding theme of their ministry through music. While they had been planning to record a gospel album for over a decade, the impetus for the album was provided when Kenny's father died in a tractor accident in March, 2006. With their calm assurance and devout belief, they are ready to face tomorrow and the continued opportunities and challenges that life will bring.

Joe Ross - rossjoe@hotmail.com

On December 6, 2006, Jack Cooke turned 70 years old, and "Sittin' on Top of the World" is a celebration of sorts. This country boy from Wise County, Va. was born into a large family that played music and sang in church. After he and his brothers won a band contest sponsored by the Stanley Brothers, Jack went to work as the bass player with Carter and Ralph from 1955-57 (picking up a bass for $15 or $20 from Mike Seeger). After over four years playing guitar or bass with Bill Monroe, Jack Cooke formed his own band (Virginia Mountain Boys) in Baltimore. There, up above Johnny's used car lot, he recorded some albums (on the Wango label) with the Stanley Brothers, calling themselves John's Gospel Quartet. This current album being reviewed ends with two bonus tracks of archived material recorded in 1963 (with Bill Sage, Roy Hoskins, Bobby Diamond). "Let Me Rest at the End of My Journey" and "I've Always Been a Rambler" illustrate what his band and voice sounded like over 40 years ago. In late-1969, Jack went back to work with Ralph Stanley and has been with him ever since. With good range and an ear for harmony, Jack can sing all parts.

On his first day of the job, Ralph Stanley asked Jack to handle the record sales. It's something he's successfully done without any pretenses or insincerity for years. He comes across as a man with empathy, kindness and understanding. His roots run deep to old-time mountain and bluegrass music. He doesn't believe in any fancy stuff or in taking the music "uptown." Jack once said, "A lot of people is ashamed to tell how they was raised and everything, I believe. But a man ought to tell it like it is. Got to keep it country. Keep it mountainous."

What's so nice about this project is that it casts Jack Cooke into the spotlight. He's no longer just a sideman, a guy who was once a Blue Grass Boy with Bill Monroe or the long-time cornerstone in Ralph Stanley's band. Vernon Crawford "Jack" Cooke is now a solo artist who sings on all tracks and plays rhythm guitar on a couple too. Appropriately, his album opens with "Gotta Travel On," a song he once cut with Bill Monroe years before (12/1/58 in Nashville to be exact). And, second up is one of his signature songs that showcases his piercing tenor vocals, Webb Pierce's "I'm Walking the Dog." Jack may have been the first singer to adapt the song to bluegrass, and he is joined by Del McCoury's harmony vocals. Going way back, Del had been a Virginia Mountain Boy before he went to work for Monroe. This "Sittin' on Top of the World" album was produced by Jim Lauderdale who wrote "That's How the Cookie Crumbles" and who appears in the mix of three other cuts. Besides Del and Jim, other friends assisting include Ralph Stanley, Ralph Stanley II, James Shelton, Todd Meade, Steve Sparkman, Ronnie McCoury, Robbie McCoury, Jason Carter, Mike Bub, David Grisman, and Hubert & Jeanette Cooke.

Not so long ago, Jack Cooke was a young musician living in an exciting time and learning from the impressionable Monroe and Stanley. Now, he's the mentor, and his relaxed and enthusiastic singing of bluegrass, country and gospel numbers will influence others. In a sense, he's passing on his genuine, honest music tradition to the next generation and showing 'em how it was done. Over the decades, Jack's been approached many times to do his own album. I wish it would've happened sooner rather than later, but I reckon that finally getting it done makes for a good 70th birthday gift to himself, his family..and us. With abundant rusticity, Jack Cooke's solo album reveals a devotion to a powerful mountain sound that is unadorned and down-to-earth just like Jack.

Joe Ross - rossjoe@hotmail.com

The Circuit Riders' "Let the Ride Begin" is a strong debut album that earns accolades for a smooth, contemporary approach to bluegrass. Presumably dopting a band name to reflect the lifestyle of a working band, the quintet from North Carolina can impart an exhilarating gallop to Neil Young's "Powderfinger" or a slow cantor to yet another contribution from the prolific songwriting team of Dixie and Tom T. Hall, "Mama What Does Heaven Look Like There?" About a traveling musician, "Colder and Colder" is a beautiful song but seems to slightly challenge singer Greg Luck's low vocal range on the verses. Overall, the band's vocals are burnished and calibrated, and their instrumental interaction provides a model of competence and intelligence.

As a band, The Circuit Riders evolved from former members of the last version of The Country Gentlemen with Charlie Waller prior to his passing. While Randy Waller has reorganized The Country Gentlemen, former members Greg Corbett (banjo), Darin Aldridge (mandolin), and Billy Gee (bass) formed The Circuit Riders with Greg Luck (guitar) and Jaret Carter (resophonic guitar). Luck wrote "Lonesome Wind" and "The Fall" for this album. Aldridge penned "Seeds of Doubt" and "Ten Years." Lead vocalists are mainly sung by Luck or Aldridge, but Carter delivers them on "Take Me Back to Old Kentucky." Carter's "Pickett's Charge" is a smoldering instrumental inspired by a famous Civil War battle. Another classic instrumental, "Foggy Mountain Special," clearly shows that Corbett has cut his teeth on the picking of Earl Scruggs, and he also shows that he has mastered the technique for rolling triplets too.

Greg Luck has played with such groups as Redwing, Lost & Found, Bass Mountain Boys, Lynn Morris Band, Bluegrass Cardinals, J.D. Crowe & the New South, and IIIrd Tyme Out. Not just a solid guitarist, he contributes some elegant fiddling on two cuts on this project, "Mama What Does Heaven Look Like There?" and "Pickett's Charge." After playing with his family band and New Vintage, North Carolinian Greg Corbett spent 13 years as a Country Gentleman. In 1996, he took home the SPBGMA Banjo Player of the Year award. Darin Aldridge has experience playing music in various genres (country, jazz, folk, rock) and was with The Country Gentlemen for seven years. Listen to how he embellishes Luck's "The Fall" with bouzouki and mandola. Darin has also released a solo album, "Call It A Day" on the Pinecastle label. Jaret Carter also has experience playing country-rock, jazz and blues, and he gives about 50 private music lessons each week. Billy Gee was born and raised in La Plata, Md. but currently lives in North Carolina where he operates a guitar repair business. On this album, Wes Powers plays percussion on two cuts. "Let the Ride Begin" is a very convincing entree from The Circuit Riders.

Joe Ross - rossjoe@hotmail.com

The first major star of WSM's Grand Ole Opry, Uncle Dave Macon (1870-1952) "The Dixie Dewdrop" (from Smart Station, Tennessee) once introduced "Coming Around the Mountain" by asking, 'Well, Buddy, How you feeling? Feeling Right. Well, if you ain't right, git right, and let your conscience be your guide. Because I'm going to play with more hetergeneous, constopolitan, double flavor and unknown quality than usual. Make it light on yourself." With a similar mindset and sure to get you smiling, Peter Feldmann & the Pea Patch Quintet's album is a strong bluegrass tribute to the old-time songs of Uncle Davy. Bluegrassers should take note of how well these kinds of songs adapt to the genre. Rather than some half-baked folk revivalist effort, the songs were conceptually arranged with bluegrass instrumentation, in fact a few banjos, as well as a variety of vocal stackings. I'm sure Uncle Dave would be proud of the "little hot runs on the banjo" (some with touches of harmony), along with all the other fine musicianship here.

There's also plenty of quaint advice on the CD too. In "Jordan is a Hard Road to Travel," for example, "I don't know but I believe I'm right, the autos ruined the country, let's get back to the horse and buggy, and try to save some money." Not such a bad idea, I'd say, especially if you live in So. Cal.! One of the spoken narratives from Uncle Dave's own commentaries declares, "King David and King Solomon lived merry, merry lives for they had many many wives, but when old age overtook them, they became very calm, King Solomon wrote the proverbs and David wrote the Psalms."

Hot dog, buddy let's go! Whether singing about rabbits, dogs, deer, moose, cats, kittens, cattle, horses, hogs, sheep, ducks, geese or roosters, Feldmann has a genial barnyard manner. He also plays his Everett Kettler mandolin or clawhammer banjo (on "Deer Chase") with cool confidence and composure. Inspired by that "Rabbit in the Pea Patch" [eating all day], the accomplished quintet includes Dan Crary (guitar), Bill Bryson (bass), Wayne Shrubsall (clawhammer banjo), Dennis Caplinger (5-string and 6-string banjo) and Byron Berline (fiddle). Bryson even plays some claw hammer gourd banjo too on the intro and outro that open and close the project. Even though some of the musicians were not initially that familiar with Uncle Dave's music, they took right to it as if they were from "the land of hog and hominy, pumpkin and possum, and where whiskey is made out of corn, and women don't smell like talcum powder." Who would've thunk that these guys are from California? Actually Feldmann was born and raised in Switzerland and didn't emigrate to the U.S. until after World War II. His love for old-time and bluegrass music was cultivated as a radio show producer, record label manager and bluegrass performer (with The Very Lonesome Boys).

Feldmann's goal was to capture some of the excitement that Uncle Dave produced in his 1927 New York session with his band, The Fruit Jar Drinkers. There are solo, duo, trio and quartet vocals, as well as a couple old-time fiddle tunes (Rye Straw, Forked Deer). Peter and the Pea Patch Quintet energetically recorded as a group with little overdubbing or multiple takes. Or are they known as the "Grey Cat Quintete" as spelled out on the back of the CD? Song-by-song musician credits are not in the CD jacket, but you can find them on-line. To help preserve Uncle Dave's music, I'd also recommend that Peter upload the lyrics he sings, especially for novelty tongue-twisters like "Deer Chase." I wonder how much the folkloric process has resulted in alteration of Macon's original lyrics over the years.

You can tell that these guys had a frolicking, fun-filled, festive time making this earthy album. They keep the offerings up-tempo, and the down-home ambiance fits the songs like a glove. While the vocal range required of a song like "Johnny Gray" challenges Peter a tad, it's nearly impossible to listen to romping songs like "Roll Down the Line" or "Old Plank Road" or "Take Me Home Poor Julia" without tapping toes or singing along. While many have similar tempos and joyous sentiments, the former is probably one of my favorites because it has plenty of shared instrumental breaks and quartet singing. With 14 songs and 5 brief narrative commentaries, the CD re-creates a set of music as Uncle Dave might've played it.

In the early-1920, Macon was over 50 years old when the advent of trucking forced him into a career change from mule-drawn freight delivery to entertainment. He claimed to know nothing about the "scientifical parts of music," but he could certainly play. Macon made nearly 200 recordings, and Feldmann & Co. barely scratch the surface of his repertoire. While they concentrate on those best adapted to bluegrass, it would've been nice to include more from his gospel (e.g. "Just One Way to the Pearly Gates"), blues (e.g. "Keep My Skillet Good and Greasy"), and novelty (e.g. "She's Got the Money, Too") favorites. Perhaps a second volume is forthcoming. We can only hope. A portion of the album sales goes to the Macon Family to help preserve his Murfreesboro, Tn. gravesite. If you miss hog, hominy, pumpkin and red gravy, then I'm sure that Uncle Peter Feldmann (a kind of Uncle Davy reincarnated) would love to sell you a copy of this album.

Joe Ross - rossjoe@hotmail.com

Minnesota-based Monroe Crossing is apparently on a schedule to release at least one new album annually. In 2004, we were treated to a live album, "On the Road," and in 2005 we enjoyed "Somebody Like You" and their seasonal project, "The Happy Holidays." The band now has a new banjo player (Jason Ericsson) who joined up in May 2006. The rest of the band remains the same -- Lisa Fuglie (fiddle, mandolin, guitar), Art Blackburn (guitar), Matt Thompson (mandolin) and Mark Anderson (bass). Fuglie and Blackburn handle lead vocals. Matt Thompson is the third voice on trios. Mark Anderson sings bass on the two quartets ("He Did Rise" and "Standing in the Need of Prayer").

Recorded live, with no overdubbing, into a single mic, "Into The Fire" is this hard-working band's seventh album overall (and second all-Gospel project, the other being "Then Sings My Soul."). They selected the songs because these are the ones that move them emotionally, spiritually and/or musically. Repertoire is drawn from Terry Smith, Pat Enright, Gillian Welch, Bill Monroe, Don Reno, Ronnie Bowman, Hazel Houser, and other sources. The title cut, penned by Lisa Fuglie, was inspired by Dr. Martin Luther King's 1963 letter from Birmingham jail that cited the story of Shadrach, Meshach and Abednego in support of civil disobedience when confronted with unjust laws. "When those who wield the power say you must do that which goes against our God, don't be afraid, you are not alone. Have faith, even as you go into the fire." One of their audience favorites, Mark Anderson's "He Did Rise," features twin mandolins (Fuglie and Thompson) and the band's quartet on a happy, joyful message celebrating the Resurrection of Christ. The album closes with "Get Thee Behind Me," a lively song from another Minnesota songwriter, Mary Henderson. Besides a few notes about each selection, the CD jacket provides the lyrics for the two originals from band members.

Monroe Crossing has considerable courage to record an entire gospel recording "live in the studio." It's certainly a worthy testament to the band's cohesion, as well as their love of gospel feelings and messages. I commend them for their well-rehearsed sound. Apparently, the band is not presenting their music as part of a ministry. They recognize that the messages can vary among listeners, and their gospel music speaks to all in different ways.

Joe Ross - rossjoe@hotmail.com

   In his typically inimitable fashion, Joe Ross has once again shown his mastery of bluegrass music. In his latest CD, “The Spirit of St. Louis”, you get the benefit of his delightful story telling and ear-tickling lyrics and a professional presentation with a voice that is literally made for his folksy bluegrass bent, all of which is adorned with rhythmic, cascading instrumentation courtesy of Ross a host of extremely talented bluegrass artists.

       Scintillating variety awaits you with this CD. There are gospel songs that are inspirational and thought-provoking, waltz tunes that will have you swaying to the music and up-tempo, energetic renditions that will have you hoping. Ross and his troupe of accomplished bluegrass musicians are equally proficient regardless of the type of music they play. Their instruments blend seamlessly, adding immeasurably to the listening pleasure.

       Bluegrass and Joe Ross fans will definitely enjoy this CD. It is a great follow up to his last stellar “Festival Time Again”.

Herb Barbee - RMR Staff Reviewer
paseodelrio2@hotmail.com

   If you are looking for some upbeat, peppy outstanding music that is roots rock with just the amount of bluegrass, the Oakhurst’s CD “Dual Mono” is the one for you.

   As you listen to the CD, you can feel the energy surge and you are soon caught up in the sounds. When this quintet gets cranking, you will swear there are twice as many musicians playing their heart out.

   The beauty of this type of music and especially the way Oakhurst presents it is that it can actually be mood altering. If you are in a “funk”, grab this CD, tune in to the lyrics and the beats and soon you will be upbeat.

   These guys grab you with the skillful musicianship, hold you with their clever lyrics and surround you with their rich vocals. Do not miss this CD.

Herb Barbee - RMR Staff Reviewer
paseodelrio2@hotmail.com

   Bluegrass music never sounded better. New Blue Yonder’s self titled, CD is chock-full of some awesome sounds, both traditional bluegrass favorites and original tracks all presented in a wonderfully unique style.

   The talent among this foursome of girls runs the gamut. The original pieces contain thoughtful, well-penned lyrics, the kind that engage the imagination and virtually put the listener in the song. As musicians, the quartet is dazzling. The sounds from their instruments blend beautifully with no one instrument over powering any other. Even as the tempos increase, the players are all artfully in sync. And, oh the harmonies, strong, rich vocals envelope the listener and further induce the listening pleasure. The exquisite harmonies are matched by energetic, heartfelt deliveries that can not help but connect with the listener.

   This is a debut CD. What a way to break into the scene. It will leave everyone anxiously awaiting their next product.

Herb Barbee - RMR Staff Reviewer
paseodelrio2@hotmail.com

   Bluegrass fans are in for a real treat and some great entertainment when they listen to Don Rigsby’s newest CD “Hillbilly Heartache”. Those listeners already familiar with Rigsby’s work will not be disappointed as he has remained true to his style. Those listeners discovering Rigsby for the first time will be glad they did.

   While Rigsby himself has released solo albums in the past, this CD is a first for him and his band. But you would never know it. These guys are so in sync; you will swear they have spent their careers together. All uncommonly good musicians, Don and his Midnight Call produce a sound that is pure mountain music. The requisite fiddle and banjo blend perfectly with the bass and guitar and you can not help but move to the music and be moved by the music. The very bluegrass sound is one for the books and Rigsby throws in an added dimension with some heartfelt, intense gospel music.

   Add to all this, Rigsby’s exquisite tenor voice and you have a great CD.

Herb Barbee - RMR Staff Reviewer
paseodelrio2@hotmail.com

   "Nebraska Hose” Bryan Clark’s newest release contains sixteen really great tracks that will give you hours of listening pleasure and much more. Clark’s music style does not belong to any one genre. He gives the listener an awesome variety of music rhythms and does it all extremely well. If you are a bluegrass, country or folk fan, this CD is for you. The CD is an expertly balanced meld of carious music types. But, not only does he transcend genres from song to song on this album, Clark sometimes does the same thing within the same song – a nifty talent and difficult to pull off as seamlessly as he does.
   Clark has a rich, smooth voice that punctuates his talents as a songwriter. Eleven of the sixteen songs were written by Clark and he co-wrote the other songs. Lyrics are well-penned, well-sung and often profound. As you listen to him, you sense his absorption in the song and you find yourself fully absorbed, as well. Very good work!

Brenda Barbee - RMR Reviews Director

   When you listen to the newest CD by Joe Ross “Festival Time Again”, you will actually feel like you are at the bluegrass festival. The CD is an impressive compilation of some very good bluegrass music. The twelve original tracks are what bluegrass and folk music is all about. Ross also has the support of some other first class musicians (15 to be exact) which makes a great piece of work even better.
   The real beauty is that if you like bluegrass music, you will love this CD and if you like folk music, you will also love this CD. So if you like variety in both, you are in for a treat.
   The styles you will find in the CD cover the spectrum and as you tune in to the lyrics, you will discover that Ross has a real gift for folksy story-telling. He and his company of extraordinary musicians masterfully accompany the lyrics and they even throw in a couple of awesome instrumentals, for your enjoyment.

Brenda Barbee - RMR Staff Reviewer

   The music of the Greasy Beans is pretty slick, but I sure wish they would’ve lubricated their songs with a little fiddle or dobro also. If bands are going to choose a bluegrass format for their original acoustic music, then go all the way. Get down! Get glaborous! Now I have nothing against the fine, smooth picking of Josh Haddix (guitar), Charley Brophy (mandolin), Danny Barnes (banjo), and Keith Lowe (bass). I just hear their greasy music more enhanced with some hot, slippery resophonic guitar or slimy fiddle. Maybe they could’ve called on a former bean, Cailen Campbell on fiddle. Charles Brophey’s old-timey instrumental “Betty Jane’s Mule” just brays for this kind of embellishment. Although not credited as such, I wonder if that is Haddix and not Barnes who is frailing the banjo on this one as I understand that Josh is a pretty decent clawhammer banjo player.
   While all the band members are credited with vocals, liner notes don’t identify who is singing when. The most prominent lead singer displays plenty of melancholy. If you don’t mind a few wavering notes, then solo songs like “Good Bye My Love” and “Truly True” are wistfuly expressive. Their gifted tunesmith friend, Scott McAleer, had a hand in writing these two, as well as three other, songs. Personally, I found more vocal radiance from the Greasy Beans in their carefully cultivated “On My Mind” and “Cain and Abel” with their straighter and narrower bluegrass sensibilities. Jenny Benford also appears as a guest vocalist, my guess as a harmony singer on “Just the Other Day.”
   “Busted” is this touring band’s third album, following their “Real Live Music” project that was engineered by Grammy-winning producer Bil VornDick. “Busted” was produced by Danny Barnes and recorded by Garey Shelton in Seatlle, Wa. The band’s strength is their emphasis on original compositions. In the 2-chord opening ballad, “Cain and Abel,” Cain kills Abel with a .44 gun. I could hear the Nashville Bluegrass Band covering a tune like that. At track three, the title number written by Ty Gilpin is a bluesy tale about wearing out the old highway to get one’s baby back.
   They also convey a type of vocalizing that is also kind of appealing as a result of its very lack of polish. The core of the band, Haddix and Brophey, have picked together for 12 years since they formed on the campus of Warren Wilson College. I enjoyed their breezy jaunts through midtempo arrangements that share guitar and mandolin passages. Spare setting can lend more immediacy to story songs like “Hey Senorita.” Besides touring, the Greasy Beans have also performed several seasons of traditional music with ballet as part of Jean-Pierre Bonnefoux’s “Under Southern Skies: An Exploration and Celebration of the South” in collaboration with North Carolina Dance Theater. Greasy Beans are prominently featured in a piece entitled “Shindig.” Currently touring with Greasy Beans are Brad Hutchison (banjo) and David Brown (bass).
   Greasy Beans might tell us that they want their music to be left more organic. But I would counter that it will be around longer, be more accessible, and make more of an impact with a few preservatives. The band from the mountains of Asheville, N.C. shows some clear potential, and I’d just like to see them package their music with some more coloring and spirited and rootsy old-time spunk. While they like taking bluegrass down roads less traveled, I think they’re on to a good thing. Just as when they were matched with ballet, the band gives us an “alt-grass” product that presents considerable fascination and intrigue. - Joe Ross, Roseburg, OR.

   At first glance, the name Wilders might appear to be the surname of one or more of the band members. But it more aptly is a description of this band’s talented delivery, with emphasis on wild. With them, it is bluegrass meets rock and roll. These folks exude such energy that you sense their dynamic presence even on the CD as they belt out some incredibly vigorous bluegrass music.
   What a talented group of musicians. Whether you are listening to one of the band’s seven original tunes on the CD or any of the other seven old time favorites, from start to finish you are entertained with spirited renditions by this ultra-talented group. Close your eyes and you picture this quartet in a veritable frenzy of picking, plucking and fiddling.
   As good as the Wilders are as musicians, they are equally talented as singers and songwriters. You truly get the bonus bluegrass package with them.

Brenda Barbee - RMR Staff Reviewer

   Bluegrass fans have another CD to enjoy form The Earl Brothers. The treat this time is titled Troubles To Blame. These guys do the traditional bluegrass very well and also offer another more unusual style of bluegrass but one that is definitely still bluegrass, nonetheless. Some bands have tried to pull off this latter style and have been unsuccessful. The Earl Brothers set the standard.
   The string picking from these talented musicians keeps your foot tapping and the rhythm, lyrics and their traditional bluegrass vocals will make you feel like you have gone back through a time warp – back to a simpler time – how refreshing.

Brenda Barbee - RMR Staff Reviewer

   One definition of the word “Endeavor” is “to try” or “to attempt”. This group, Acoustic Endeavors, does a whole lot more than try. They succeed in a huge way on all that is bluegrass and acoustic. The On A Farm CD will have you believing you are in the country and what a great feeling!
   Strong vocals from both a male and a female lead vocalist give the band unique and refreshing variety and the group has some accomplished musicians. The musical accomplishment of these talented singers is right on. All the strings, the guitars, the banjo, the fiddle and the mandolin blend seamlessly in support of the vocalists and do not overpower them. Your foot will definitely be tapping.
   The CD contains 16 original songs and offers an excellent assortment of bluegrass, gospel, Americana and country. The Acoustic Endeavors pull off all those music styles equally well.
    Brenda Barbee - RMR Staff Reviewer
 

   After showcasing at the 2002 IBMA World of Bluegrass, Pine Mountain Railroad’s 2003 release, “The Old Radio,” (CMH Records) charted nationally. The band was a Top 5 nominee for both the 2003 and 2004 IBMA’s Emerging Artist of the Year Awards. Now on TrakTone Records, the band has some new personnel. Gone are Jimbo Whaley, Danny Barnes and Clint Damewood, while long-time members Bill McBee (bass) and Kipper Stitt (banjo) remain. Since the band’s 1998 inception by Pine Mountain near Pigeon Forge, TN., there have actually been a total of 15 members of PMRR. The latest reinvention of the Pine Mountain Railroad sound is most apparent in their vocals, with guitarist Jerry Butler singing lead and mandolinist Cody Shuler singing tenor. Stitt handles baritone, McBee adds bass vocals, and Matt Flake is the band’s new award-winning fiddler. Prior to age 18, Flake won guitar, mandolin, and fiddle contests in Indiana, Kentucky, and Tennessee. He\\\'s now about to turn 20 and has a long, outstanding music career ahead of him.
   PMRR’s new sound lacks some of the hard edge of the earlier configuration, but a more leisurely winsome approach at times still offers plenty to thrill traditional bluegrass fans. Their 2003 album reflected their emergence as a national touring band with a traditional sound. While maintaining that focus, the vocal quality has changed. Their harmonies blend better, and their lead vocalists seem more emotive and mindful of how their inflections and stylistic interpretations best reflect the lyrics’ mood and message. Jerry Butler is particularly poignant on a couple he wrote, “Fly Away” and “Brother Noah,” as well as Kipper Stitt’s “Laura Jean,” a sad tale about an 8-year-old girl who lost her life when hit by a car.
   Their music selection showcases the many talents within the group and demonstrates their comfort with many stylistic interpretations within the sideboards of bluegrass. While some have characterized their sound as “country,” this album indicates they perform material from a much-broader musical spectrum. On “Heartache & Hope,” their sixth album overall, the influences of Flatt & Scruggs are apparent, but so are those of gospel, western swing, and country balladry.
   As instrumentalists, the band has matured and improved their musical chops. Stitt’s instrumental “Butter on the Biscuit and Jelly on the Side” is particularly full of get-up-and-go. The band’s unpretentious acoustic country and folk overtones are most apparent in Mark Brinkman’s “Beyond the Rain” and Tony Rackley’s “Sinner’s Lament.” A couple other gospel numbers, “Fly Away” and “Dine With The King,” have inspirational messages, while “Brother Noah” bursts with pep as the band’s quartet sing with enough energy and enthusiasm to last for forty days and nights. Cody Shuler sings his own “Hazel Creek Train,” a ballad that picks up the pace as it tells of a group of loggers finding gold and meeting a terrible fate. The album closes with the theme song for Odom’s Tennessee Pride Real Country Sausage. Since 2001, the band has been the official bluegrass band for that product, and Pine Mountain Railroad’s rendition of that song is played on radio commercials airing during the Grand Ole Opry.
   While Kipper Stitt is also an excellent resophonic guitarist, those duties are ably handled by guest Matt Despain on this album. Other guests include Shad Cobb (fiddle), Sutart Duncan (fiddle), Larry Atamanuik (percussion), Ben Isaacs (vocals), Sonya Isaacs (vocals), Larry Odom (voice-over announcer), Missy Raines (bass), and Walter Riverwood (cowbell). Produced by Missy Raines, this album was recorded at The Rec Room Studio in Nashville with recording engineer Ben Surratt at the control panel.
  Pine Mountain Railroad’s appealing and varied sound continues to build a legion of fans. Their goal is still to “take a part of the Great Smoky Mountains to folks who may never get to experience them.” Their Fedora hats alone make a succinct statement that this dapper band is one-of-a-kind. The set on “Heartache & Hope” reinforces that this stylish band is unique. For that reason alone, we give thanks because bluegrass, in general, could be rather boring if every band sounded exactly like Bill Monroe and his Blue Grass Boys. - Joe Ross, Roseburg, OR.

   When Ken Carriere of the Goodtyme label saw a young man named Bo Isaac perform, he was very impressed. What he saw was an incredible talent, a musician and songwriter with unbelievable audience appeal and fantastic potential in bluegrass music. Mountain Heart’s Steve Gulley didn’t hesitate when asked to produce Bo Isaac’s debut album. Apparently, Bo only sings on the project although he’s pictured on the cover with a guitar. The stellar supporting cast assembled for this project include many top names in bluegrass - Jason Moore, Tim Stafford, Ron Stewart, Jim Van Cleve, Adam Steffey, Steve Gulley and Dale Ann Bradley. Recorded at Dixie and Tom T. Hall’s studio in Franklin, Tn., the result is one of straight-up-and-down drivin’ grass. While Bo wrote nine of the twelve cuts, the title cut comes from the pens of Billie Smith, and Tom T. and Dixie Hall. Lyrics are included in the CD jacket, but a few have minor typos, and a couple verses were left out from the title cut.
   Isaac hails from a small mining town along scenic U.S. 23 called Wheelwright in Floyd County, Kentucky. With his band called The Wheelwrights, you might see Bo singing “That Place Across The Mountains,” with a sense of optimism and desire to make a better life out of the Appalachian coal mines. He also sings about “seeking fame and fortune” in Bill Castle’s “It’s In My Mind To Wander.” Well, he’s well on his way with this album that could possibly even make my top ten list for 2006. After being introduced to bluegrass at an early age by his grandparents, Bo would eventually be working in bands with Larry Cordle, Dave Evans, Ernie Thacker, Gerald Evans, and others. Now, his goal is to succeed as the front man with his own band.
   Bo Isaac is a singer of breathtaking ability and range, and his vocalizing reminds me of another who hails from that part of Kentucky – Ricky Skaggs. The choruses are powerful with Steve Gulley and Dale Ann Bradley singing harmonies. Isaac also writes his originals with a flair for stories that clearly have a beginning, middle and end. And just what the bluegrass doctor orders, the lyrics are straight-forward and conversational. I also liked the occasional catchy hook like “That’s What You Get (For Rubbing It In My Face)” or the barn-burning “Six More Miles To Nowhere.” Another sure crowd-pleaser is “The Working Man Way,” which also alludes to that better life to live when the bossman yells for overtime. Bo superbly handles his pensive love song, “We’ve Got A Good Thing Going On” and his own gospel selection, “Forgive Them (For They Know Not What They Do).”
   Bo Isaac proves that he’s something special and has the qualities to go far. He’s an entertainer with considerable charisma. His bluegrass is substanch! My guess is that the telephone request lines are ringing off the hook for more of Bo’s brand of ‘grass.  - Joe Ross, Roseburg, OR.

   In a word – Wow! “Prodigy” also comes to mind. Canadian born 19-year-old Ashley Robertson is a relative newcomer to country music but you would never know it from listening to her. She demonstrates talent and ability of someone who has been engaged in the industry for years. Listening to her you get the sense that she throws her entire being into her songs.
Ashley has great vocals - a compelling voice that lets the listener literally feel the music. She also has the ability to vary that stunning voice and vocal delivery to masterfully fit the type of song she is singing. Her rendition of Amazing Grace, the last song on the CD, is particularly moving.
Even her songwriting bespeaks talent and skill beyond her years. Three of the twelve songs on the CD are her own composition and they reveal a deep, thoughtful maturity. We expect great things from this extremely talented young artist.

Brenda Barbee - RMR Staff Reviewer

   If there ever was an album that told it like things really are in this life, then this is it.
   The Kickin Grass perform some outstanding songs that shoot strait through the heart of bluegrass music and will leave a hole that will ache to be filled with more of their music.
   This band is more than a pleasure to listen to and we are sure to hear much, much more from The Kickin Grass in the future.

   Before Television there was only radio to entertain folks after supper on many a night.  Well “The Flat Mountain Girls” are just too young to have been on the radio back in those days but continue a sound that has almost vanished from the music industry today by presenting their music pure and honest. This new release is as roots as roots music can get. These ladies harmonize wonderfully and their style is just fantastic. This is acoustic bluegrass at it very best.

   Every once in a great while a new release comes across our desk that introduces a band that we know is going to be the next big thing in bluegrass music.
   Well The Dixie Bee Liners are one of those bands. Their music is pure to the bluegrass tradition and the vocal performances are beyond words. They are profoundly talented and the sound is their own. The bluegrass music scene should brace for this new album.

   This 4 piece band servers up a Rock Mountain of music on this new album.
This is a splendid CD with skillfully presented songs that are truly aimed at the true bluegrass music fan. The production on the CD is brilliant and the band more than delivers a taste of bluegrass that is original sounding whilst holding true to the roots of bluegrass music.

   Bluegrass the way it should be. The Head For The Hills Band is no ordinary bluegrass band. They have honed a fantastic sound of their own. These musicians can pick and sing the way real bluegrass pickers should. This new album is just super and brings back the traditional raw bluegrass sound. This is a compelling CD just released for the true bluegrass music lover. Radio should jump on this one like a chicken on a grasshopper.

A really cool album.

    This is one of the best 3 piece bands to ever record an album.  The Greencards will not go away and we are sure glad they wont.  ”Weather And Water” their new release is much more than good (It’s Fantastic).  Watch this album fly up the bluegrass and folk charts like it had wings.

  Raw and down to earth are a couple of words that explain the sounds of The Sweet Sunny South Band. If there ever was a band that played real traditional bluegrass the way it was done 100 years ago this band is probably the best we have heard. “Wild N Swingin” is a new release by the band that will have bluegrass radio jumping through hoops to play this music. A traditional bluegrass album that delivers much more than most.