Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir.

liant interpretation but only someone with not your typical backwoods folk musician, Jody’s skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like “Rhinordine,” “Lord Leitrim,” in the early ’70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, “Barbary Ellen.” performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time. Appleseed 1030 phones and let these old songs and this Metamora was the next step, with crooked skilled artist work their magic. And don’t self-composed tunes and modal harmonies. t takes only a few minutes to completely forget to fall into the intriguing, ballad in- More recordings followed, placing the fall under the spell of the music Jody spired paintings by Martha Lewis that were hammered dulcimer in different combina- StecherI has created on his latest release, thankfully included, in full color, through- tions through his association with Oh The Wind And Rain. He is a phenom- out the CD booklet. — MW Windham Hill records. enal musician and folk music scholar and In 1990, Malcolm recorded a Ceremony these eleven ancient and precious ballads of Songs for Choir called Hymnody Of The could hardly have landed in better hands. MALCOLM DALGLISH Earth, a song cycle featuring the Ameri- Jody combines his own vocals, banjo, AND THE OOOLITES can Boychoir (of which he was a member mandolin and oud talents with the bass Pleasure in his youth) under the direction of James vocals of Larry Hanks, Hank Bradley’s Ooolitic Music 1112 Litton, the percussion of Glen Valez and fiddle and the old-time banjo of Kate settings of the poetry of Wendell Berry. It Brislin. The instruments are arranged in a he concept of making folk music “le- was very much a warm-up for his new re- way that is at the same time simple and gitimate” for the concert stage has cording Pleasure. stunningly compelling. Stecher’s respect Tbeen the death knell for many would-be Pleasure is a song cycle of original and for tradition, reverence to the singers who traditional music enthusiasts. Upon hear- arranged traditional tunes featuring the came before him, and commitment to leav- ing the sugar-coated renditions of orches- Ooolites, a choir made up of young sing- ing something of himself in every song are trated and vocal arrangements of folk tunes ers age 12 to 20. Some recognizable names equally important elements in the mix. and songs, the uninitiated listener is much are members of the Ooolites. Suzannah and A perfect example of this is his treat- less likely to be interested in the more au- Georgia Rose Armstrong-Park from the ment of “Edmund And Emily.” Not only thentic performances by source musicians. Northern Harmony Singers and the grand- does he skillfully piece together this ballad A possible reason for this is that while clas- children of George and Jenny Armstrong, from a variety of Irish and American sically trained composers have made the the first family of folk music in Chicago, sources, he does it mostly a capella with arrangements with sincere intent, they just are perhaps the best known, but a number short, stark guitar interludes. Ten minutes aren’t up to the task. of Dalglish siblings and other children of later the listener is completely transported How long has it been since you attended various backing musicians are members. to the world of the story and is hypnotized a high school choral concert? Try it some- Perhaps the reason these arrangements by the poetry. The spell is then wonderfully time. My son’s high school choir director work so well is that these young people broken by an old-timey treatment of ”Little has eschewed these traditional makeovers. know what these tunes should sound like. Johnny Sailed From London,” complete The kids really enjoy hearing the real As young people in the ’90s, besides hav- with mountain fiddle and banjo. Once your thing. Guess what, their enthusiasm is con- ing a strong background in the tradition toe is tapping, Jody pulls you back into a tagious! Nathan’s director even had the they also bring more modern influences state of meditation on the title cut. This ver- foresight to have him play mandolin dur- such as snippets of Bobby McFerrin’s sion of “Oh The Wind And Rain” begins ing a Celtic piece at a recent concert. As Voicestra, the vocal styling of Clannad and with what seems like an improvised tone the crowd filed out that was the tune they even some Lambert, Hendricks and Ross poem complete with delta blues-like moan- were all talking about. to their vocal timbre. ing combined with the exotic sound of the Malcolm Dalglish has approached the What a great time they must have had oud and mandolin. Before you know it, the subject of traditional music for the con- recording these tunes! Malcolm has man- dreamscape changes again and the ballad, cert stage by viewing it from his standpoint aged to be mostly accompanist to the choir. as most of us know it, begins. It is a bril- as a traditional musician. However, he is continued on Page 128 ...

126 Sing Out! • Vol. 44 #2 • Winter 2000 SOURCES FOR REVIEWED RECORDINGS 1-800-PRIME-CD (111 E. 14th St., Suite 300, New York, NY 10003; 800-PRIME-CD; Kilt Music Group (CSC, P.O. Box 8176, Halifax, NS B3K 5L9, Canada; www.kilt.ca) [email protected]) Koch (2 Tri-Harbor Court, Port Washington, NY 11050-4617; 516-484-1000; Acoustic Disc (P.O. Box 4143, San Rafael, CA 94913-4143; 800-221-DISC; [email protected]) www.dawgnet.com) Little Bluestem (Chuck Suchy, 4845 20th Ave., Mandan, ND 58554; 701-663-7682) Angel (304 Park Ave. South, New York, NY 10010212-253-3000; www.angelrecords.com) M.C. (P.O. Box 1788, Huntington Station, NY 11746; 516-754-8725; [email protected]) Appleseed (P.O. Box 2593, West Chester, PA 19380; 610-701-5755; [email protected]) Howie MacDonald (970 Westmount Road, Sydney, NS B1R 1C6, Canada; ARC Music (P.O. Box 2453, Clearwater, FL 33757-245344-01342-328567; [email protected]) [email protected]; www.arcmusic.co.uk) Beth Mead (349 Harrison Avenue, Elkins Park, PA 19027; 215-782-1630; Arcipelago (Ortsstrasse 8, 79669 Zell I. W., Mambach, , Germany; [email protected]; [email protected]) [email protected]) Mercury (div.Polygram, 825 8th Avenue, New York, NY 10019; www.mercuryrecords.com/ Arista Austin (6 W. 57th St., New York, NY 10019) mercury) Ark21 (14724 Ventura Blvd, Penthouse Suite, Sherman Oaks, CA 91403818-461-1700; Musix (P.O. Box 231005, Pleasant Hill, CA 94523; 510-787-0050) [email protected]; www.ark21.com) Narada (4650 N. Port Washington Rd., Milwaukee, WI 53212-1063; 414-961-8350) Art Deco (Karen England, 1047 N. E. 89th, Seattle, WA 98115) New York City Labor Chorus (2109 Broadway, Suite 206, New York, NY 10023; 212- Astor Place (740 Broadway, New York, NY 10003; 212-529-2600) 595-6600) Asylum (1906 Acklen Ave., Nashville, TN 37212; 615-292-7990) NorthSide (530 N. Third Street, Suite 230, Minneapolis, MN 55401; 612-375-0233; Jennie Avila Music (P.O. Box 29, Lumberville, PA 18933; 215-794-3131; [email protected]; [email protected]; www.noside.com) www.jennieavila.com) Omtown (23852 Pacific Coast Hwy., Suite 2C, Malibu, CA 90265; 310-589-1515; Before Their Time (P.O. Box 222, Lyme, NH 03786; 603-643-3441; [email protected]; www.higheroctave.com) www.beforetheirtime.com) Ooolitic Music (1111 E. Wylie St., Bloomington, IN 47401; 812-333-0838) Bloodshot (912 Addison, Chicago, IL 60613-4339; 73-248-8709; www.bloodshotrecords.com) Outer Green (P.O. Box 93, Portsmouth, NH 03802; 207-363-0944) Blue Jackel (P.O. Box 87, Huntington, NY 11743-0087; 516-423-7879; Pandemonium (P.O. 913, Havertown, PA 19083) [email protected]; www.bluejackel.com) Pinecastle (5108 S. Orange Ave., P.O. Box 456, Orlando, FL 32802; 407-856-0245; Blue Thumb (555 West 57th St., 10th Flr., New York, NY 10019; www.bluethumb.com) [email protected]; pinecastle.com) Borealis (67 Mowat Ave., Suite 233, Toronto, ON M6K 3E3, Canada; 416-530-4288; Prestige/Bluesville (10th & Parker, Berkeley, CA 94710) [email protected]; www.interlog.com/~brc) Putumayo (324 Lafayette St., Seventh Floor, New York, NY 10012; 212-995-9400; Carter and Grammer (PMB 140, 25 NW 23rd Place, Suite 6, Portland, OR 97210; 503- www.putumayo.com) 236-5272; songs.com/daveandtracy) RealWorld (c/o Narada Productions, 4650 N. Port Washington, Milwaukee, WI 53212- Chrome (30 Music Sq. West Ste. 150, Nashville, TN 37203; 615-259-2346) 1063; 414-961-8350; [email protected]; realworld.on.net/home.html) Collector’s Choice (800 N. Rohwling Rd., Itaska, IL 60143; 800-923-1122; Red House (501 West Lynnhurst Avenue, P.O. Box 4044, St. Paul, MN 55104; 800-695- www.ccmusic.com) 4687) Columbia (dist. Sony, 550 Madison Ave., New York, NY 10022; 212-833-8000; Redwing (P.O. Box 577575, Chicago, IL 60657; 773-463-8184; [email protected]; www.sony.com) www.redwingmusic.com) Curb (Music Square East, Nashville, TN 37203) Rhino (10635 Santa Monica Blvd., Los Angeles, CA 90025-4900; 310-474-4778; www.rhino.com) Eminent (P.O. Box 18013, Louisville, KY 40261) Fadia (P.O. Box 40202, Philadelphia, PA 19106; 215-574-5730; www.deirdreflint.com) Riverside / Original Blues Classics (10th and Parker, Berkeley, CA 94710) Rounder (1 Camp St., Cambridge, MA 02140; 800-768-6337; [email protected]; Fantasy (10th & Parker, Berkeley, CA 94710; 510-549-2500) www.rounder.com) Flying by the Seat of My Pants (841 S. 11th, Salina, KS 67401; 785-827-3258; [email protected]) Rykodisc (P.O. Box 141, Gloucester, MA 01931-0141; 978-282-7444; [email protected]; www.rykodisc.com) Flying Fish (1 Camp St., Cambridge, MA 02140; 617-354-0700; [email protected]; www.rounder.com) Shanachie (13 Laight Street, New York, NY 10013; 800-497-1043; [email protected]; www.shanachie.com) Fogarty’s Cove (23 Hillside Ave. South, Dundas, ON L9H 4H7, Canada; 416-627-9808) Signature Sounds (P.O. Box 106, Whately, MA 01093; 800-694-5354; info@signature- Fonovisa (7710 Haskell Ave, Van Nuys, CA 91406; 818-782-6100; www.fonovisa.com) sounds.com; www.signature-sounds.com) Fossil (Joel Mabus, P.O. Box 306, Portage, MI 49081; 616-321-6160; [email protected]) Sliced Bread (P.O. Box 606, Blue Bell, PA 19422; www.slicedbread.com) Frumdahart (Jaime Michaels, P.O. Box 873, Santa Fe, NM 87504; 505-820-2256; Smithsonian/Folkways (955 L’Enfant Plaza, Suite 7300, MRC 953, Washington, DC [email protected]; www.jaimemichaels.com) 20560; 202-287-7298; [email protected]; www.si.edu/folkways) Gadfly (Mitch Cantor, P.O. Box 5231, Burlington, VT 05402; 802-865-2406; Sugar Hill (P.O. Box 55300, Durham, NC 27717-5300; 800-996-4455; [email protected]; www.gadflyrecords.com) [email protected]; www.sugarhillrecords.com) Gearle (P.O. Box 739, Ashland City, TN 37015615-792-9214; [email protected]; Take a Break (P.O. Box 21, Venice, CA 90294-0021; 310-823-0881; www.staceygearle.com) [email protected]; www.kristinaolsen.com) Grail (Graham & Eileen Pratt, 20 Sharpe Ave., Sheffield, S Yorks, S8 7SJ, England; 0114 Tangible Music (P.O. Box 340, Merrick, NY 11566-0340; 516-379-5820; info@tangible- 2746330; [email protected]) music.com; songs.com/tangible) Green Linnet (43 Beaver Brook Road, Danbury, CT 06810; 800-468-6644; Topic (50 Stroud Green Road, London, N4 3EF, England; 0171-263-1240) [email protected]; www.greenlinnet.com) Trout (P.O. Box 31435, Seattle, WA 98103; 206-632-4376) Green Man (11 Osborne Street, Winshill, Burton-on-Trent, DE15 OJL, UK; +12-83-561247; 106056,[email protected]; www.folkmusic.net/chrisfoster) Vanguard (2700 Pennsylvania Ave., Santa Monica, CA 90404; 310-829-9355; [email protected]; www.vanguardrecords.com) Greentrax (Ian D. Green, Cockenzie Business Centre, Edinburgh Road, Cockenzie, East Voyager (424 35th Ave., Seattle, WA 98122; 206-323-1112; [email protected]) Lothian, EH32 OHL, Scotland; 011-44-1875-814155; [email protected]; http:// members.aol.com/greentrax/cat1.htm) Waterbug (P.O. Box 6605, Evanston, IL 60204; 800-466-0234; [email protected]) Hannibal (Shetland Park, 27 Congress Street, Salem, MA 01970; 978-744-7678; Mark Weigle (P.O. Box 7085, Vallejo, CA 94590; 805-452-7817; [email protected]; www.rykodisc.com) www.gaysonoma.com/markweigle) Hay Holler (P.O. Box 868, Blacksburg, VA 24063; 540-552-7959; [email protected]) West Side (Gregory Grene, 208 W. 23rd St., #1101, New York, NY 10011; 212-885- HighTone (220 Fourth St., Suite 101, Oakland, CA 94607; 510-763-8500; 3678; www.prodigals.com) www.hightone.com) Rick Whitelaw (15 Helena Ave, Toronto, ON M6G 2H3, Canada; 416-652-3939; [email protected]; www.rickwhitelaw.com) Hollywood (500 South Buena Vista St., Burbank, CA 81521; 818-560-6197; www.hollywoodrec.go.com) Wind River (705 South Washington, Naperville, IL 60540-6654; 877-365-5372; Hoot (Katherine Wheatley, 2238 Dundas Street W., #59009, Toronto, ON M6R 3B5, [email protected]; www.folkera.com/windriver) Canada; 416-531-6256; [email protected]; www.kwheatley.com) Zygoat (3708 Old Town Rd., Shawsville, VA 24162; 540-268-1165; [email protected]) Indian Trail (8676 Travis Rd., Sanger, TX 762667; 940-482-3422; ITRstudio.com/) Irk (Irene Kelley, P.O. Box 642, Hermitage, TN 37076-0642)

Winter 2000 • Vol. 44 #2 • Sing Out! 127 ... continued from Page 126 Geoffrey Fairweather, with accompanist Hamilton, and on one song by Roger Eustace Johnson. The 17 performances on McGuinn, a one-time Hamilton student His hammered dulcimer is as pianistic as I this disc, covering more than 50 minutes, from the Old Town School. — MR have heard and the recording is so well were recorded live on Sunday, June 1, 1997 made you can picture the group watching at the Martin Luther King, Jr. High School. for his direction as the dulcimer weaves in Joining the Chorus as special guests were JAY UNGAR AND MOLLY MASON and out within the arrangements. The ad- Pete Seeger, who offers a short narration, Harvest Home ditional backing of fiddle, the occasional and bluesman Guy Davis, who sings and Angel 56720 keyboard, guitar and pipes are ever so plays his own song, “If You Love Some- subtle and are used very economically. The body.” The selection of songs reflects the n the liner notes of Jay & Molly’s lat- vocal ensemble is broken down into sec- multi-ethnic, nondenominational makeup est, there are two stated purposes for the tions to offer variety to this highly tuneful of the Chorus, as well as their approach to Imusic presented. One is to celebrate sea- collection. the music: “Go Down, Moses,” “We Shall sons, farming and a simpler time. The other Perhaps the most successful tune on the Overcome,” “Step By Step,” “Viva La is to show how folk music and orchestral recording is the title track “Pleasure.” It is Quince Brigada,” “Freiheit!” and “The music can and have worked together. Mis- sung much as a mouth music piece with House I Live In,” to name a few. As the sions accomplished. jazz overtones. True to the mouth music title of the disc suggests, though, this is For a complete picture of the achieve- tradition, “Pleasure” is sung unaccompa- music that is making no-bones-about-it po- ments of these two music makers, and for nied. It turns out to be a mini-lesson in litical and social statements. If you’re not a taste of their warm and extraordinary world music vocal styling. Other tunes fea- the sort of person who “looks for the union lives, I would refer you to the feature ar- ture a strong Zulu influence and even some label,” On The March! may not quite be ticle in an earlier issue of Sing Out! (SO! Tuvan throat singing tossed in for good your cup of tea. It’s good music, though, v.42#2). For a little taste of this exquisite measure. None of these are thrust at you, well performed, directed and recorded. musical offering ... read on. just added to the roux to make a perfect Particularly, soloists Dorothy Duncan, The recording begins appropriately combination of flavors. Manny Brown, Percy McRae and Jeffrey with a song from Molly called “Bound For From the opening track “Swifts,” to the Vogel deserve special mention for their ef- Another Harvest Home.” Dedicated to her finale – a great re-write of the fiddle tune forts. — JL grandparents who were farmers in the “Sail Away,” this is a joyous recording. It northwest, this song celebrates the earth is perhaps best listened to in its entirety, and the people who farm it. Because mu- as a classical song cycle would be in the FRANK HAMILTON sic and dance are so important to the com- concert setting. Pick a sunny afternoon Long Lonesome Home munities in which farms are centered, they with the cold winds howling outside and Indian Trail 609 follow this with a set of dance tunes that prepare to be transported to new and ex- remind us why Jay continues to be one of citing places. The delicacy and quality of or more than 40 years, Frank Hamilton the best fiddlers in world. The tunes are the arrangement on Pleasure make it just has been one of the unsung heroes of warmly familiar and all relate to the theme that, a pleasure to listen to over and over Fthe folk revival. Among his many accom- of the seasons and working the land. again. Here’s a hint: get one for your high plishments, he helped found Chicago’s Old “Haymaker’s Hoedown” is an Ungar origi- school or church choir director. Remem- Town School of Folk Music, helped to adapt nal that features Dirk Powell on banjo and ber, enthusiasm is contagious! — TD “We Shall Overcome” and held Pete frolics along in the mountain string band Seeger’s slot in the Weavers for a year. tradition. Harvest Home continues along However, Hamilton has been severely un- while changing moods like the season. der recorded in his career, which helps make There are waltzes, a meditative hymn, and this collection of mostly-traditional Ameri- even a lively Cajun number that features can folk songs a very welcome release. Christine Balfa on vocals. There’s a familiarity to this recording There is, of course, a long tradition of that seems to recall old times spent sing- classical music composers borrowing melo- ing songs in kitchens, on porches and dies from the folk music repertoire. The around campfires with old friends. And in- most notable example in this country is the deed, these songs are mostly old friends to popular works of Aaron Copeland. “Hoe- NEW YORK CITY LABOR CHORUS anyone who grew up in the folk revival. down,” perhaps the most memorable dance On The March!: Hamilton mixes cowboy songs like “Utah from his Rodeo, used the melody of the old Songs Of Struggle And Inspiration Carroll” and “Buffalo Skinners” with blues fiddle tune “Bonaparte’s Retreat.” Here, New York City Labor Chorus 3 like “Michigan Water,” hobo train songs like with the help of the Nashville Chamber Or- “Jay Gould’s Daughter,” and Woody Guthrie chestra, Jay and Molly begin the orchestral he New York City Labor Chorus has classics like “Do Re Mi” and “Pastures Of portion of this recording with an arrange- been performing everywhere from Plenty.” A nice added touch are the spoken- ment of the two pieces that blends the styles picketT lines to concert halls since 1991, and intros to three of the songs that gives us some so cleverly you’ll have trouble telling where not just in the Big Apple. Their itinerary insight into Hamilton’s days with the Weav- one ends and the other begins. It’s delight- in the last few years has included Wash- ers, and also to Woody Guthrie, who ful. They follow this with an orchestral ar- ington, Philadelphia and Sweden (not nec- Hamilton knew in the years before Guthrie’s rangement of Jay’s most popular tune, essarily in that order). The more than 100 hospitalization in the 1950s. “Ashokan Farewell.” members of the Chorus are drawn from the Most of the songs are engaging solo All of this leads to “The Harvest Home rank and file of more than 20 locals in New performances. Hamilton is joined on a Suite,” where all the themes and musical York City, and are led by choral director couple of songs by his wife, Mary forms blend together in one swirling har-

128 Sing Out! • Vol. 44 #2 • Winter 2000 monic mix. This suite for orchestra, fiddle collections contain many obscure and local- and guitar will move you from harvest to ized tunes. Lamb, who learned a lot of his harvest, with lush passages and familiar repertoire from Iowa-Nebraska fiddlers and melodies from earlier in the recording. The much of his technique from radio fiddler result is ... well ... something that needs to Uncle Bob Walters, plays in a generally un- be heard. — MW adorned, angular style reminiscent of New England Yankee fiddling. He also occasion- ally embellishes the melody with quick grace notes (“Bells Of America”), typical, accord- It’s a guitar of ing to Wilson, of the region’s 19th century fiddling. Other Lamb tunes, while clearly JUSTICE ... rooted in the past century, also suggest a broad range of influences – Appalachian (“A Bob Walters Tune In G”), Irish (“Jimmy In The Swamps”), Franco-Canadian (“Jake’s Best Reel”), Scandinavian (“Danish Galop”), VARIOUS and even Cajun (“The Thrasher’s Tune”). In Traditional Fiddle Music Of The Ozarks, addition to fiddle tunes backed by Lynn Vol 1: Along The Eastern Crescent Holsclaw’s guitar, Lamb delivers a few but- Rounder 0435 ton accordion pieces and some examples of unaccompanied fiddling. The latter are par- SNAKE CHAPMAN ticularly effective and serve as reminders of Walnut Gap the fiddle’s leading role in the evolution of Rounder 0418 American stringband music. Chapman, a retired coal miner; who DWIGHT LAMB started as a banjo player and who first learned Joseph Won A Coated Fiddle tunes from his father before turning to the Rounder 0429 radio, also supplies several evocative solo pieces (“Boatin’ Up Sandy”). His fiddling is hese collections in Rounders’ new full of bluesy slides (“Humphrey’s Country “North American Traditions” series Blues”) and minor shadings (“Cat Tracks”) documentT varied but related old-time fiddle that give it its characteristic Appalachian styles and abound with uncommon tunes and melancholy. Yet Chapman also displays strong playing, and series editor Mark Wil- rhythmic bowing (“Mad As A Hornet”) and Marie-Lynn Hammond son contributed notes with genuine feeling deft fingering (“Nubbin Ridge”) that, abet- for the music and musicians. A self-pro- ted by Paul Smith’s contrapuntal 3-finger Songs for the Head and the Heart claimed “propagandist of true [traditional] banjo playing, lean towards bluegrass. On fiddle style,” Wilson dismisses much con- (“Suppertime Frolic Waltz”) the fiddle-banjo temporary fiddling as “watered down in pun- combination evokes 19th century parlor gency by extraneous classical and pop in- music. fluences.” This may be true. Yet traditional Like Chapman’s, many of the Ozark “one of the best contemporary music in America has always been exposed fiddlers’ tunes have minstrel show (a form singer-songwriters in Canada” to, and affected (sometimes even favorably) of popular entertainment) ancestors Estelle Klein, Mariposa Festival Founder by, “extraneous” influences. In fact, several sources. The players on this first of three Marie-Lynn Hammond & Vignettes of the fiddlers on these collections, most no- projected Ozark collections represent ap- now available on one 73-minute CD tably Kentuckian Owen “Snake” Chapman proaches found along the eastern crescent www.marielynnhammond.com • Vignettes Media 1515 El Rito Avenue • Glendale, CA 91208 USA and Iowan Dwight Lamb speak, in the liner of Missouri and across northern Arkansas $15US • $20CDN • postpaid notes, of learning tunes from the radio. into Oklahoma. Some of the tunes have Lamb’s “Dickson County Blues” would have clear Appalachian cousins (Stan Jackson’s been impossible without the influence of rag- “Big ’Taters In The Sandy Land”), while time, and many of Chapman’s tunes cite others, like Lamb’s tunes, point to the im- 1930s and ’40s radio sources. “Hickory pact of French-Canadian music (Gene Leaf,” for example, learned by Chapman Goforth’s “Ragged Bill”), ragtime (Howe from Arthur Smith broadcasts, was based on Teague’s “Wabash Foxtrot”) and the blues the commercial version of “Bonaparte’s Re- (Audrey Handle’s “Drowning Creek”). As treat” popularized by Pee Wee King and an added bonus, Violet Hensley’s “Uncle Kaye Starr. Ozark fiddler Howe Teague’s Henry” and “Wang, Wang, Blues” display “Everything” clearly reflects 1930s popular the collection’s most unusual accompany- music, and Teague cites a cowboy movie as ing instrument – the African-American de- the source for “Cluckin’ Hen.” Clearly the rived jawbone, perhaps making its only line between traditional and popular culture recorded appearance here. is a fine one. The booklets with the Lamb and Still, Wilson’s dedication to old-time fid- Chapman collections (and the series’ Web dling and players is admirable, and these site, www.rounder.com/rounder/nat) also

Winter 2000 • Vol. 44 #2 • Sing Out! 129 contain extensive autobiographical notes the tune unrecognizable by the final go- Wilborn is the bass player for the Lynn by the fiddlers, allowing them to tell their round, but not so the fiddler’s individual Morris Band and the bluegrass supergroup own stories. Fuller discussions of the styles style. You may not know what he’s play- Longview. He also worked with the leg- would have been useful as well. Neverthe- ing by the end, but you know it’s Benny endary Johnson Mountain Boys. Here he less, these collections bode well for the playing it! This remains the standard by tastefully plays his way through a variety North American Tradition Series as they which many fiddlers are judged in the vari- of styles. His exquisite, understated slap help broaden our knowledge of what was ous contests throughout the US. bass technique, swing plucking and once America’s perhaps most ubiquitous The first 20 tunes on this generous 32- straight-ahead bluegrass attack are all dem- folk instrument. — MG tune collection were recorded in Vivian onstrated in a clean, fluid style. For those and Phil Williams’ living room in Seattle accustomed to hearing Wilborn with the with the informality of friends getting to- above-mentioned three groups, there’s gether for a session. There’s even the very little traditional bluegrass here, yet sound of a crackling fire in the fireplace this straying from the bluegrass fold should and the glitches and missed chords are left not turn off purists, as the diverse styles in for all to hear. Benny is relaxed and are certainly complementary. Among the obviously having a wonderful time. players Wilborn calls upon are Pete The next set of four tunes was recorded Wernick, Tom Adams, Tony Furtado and in Weiser, Idaho at the 1972 fiddle contest, Lynn Morris, who offers the album’s only with Benny at his competitive best. Varia- clawhammer backing on Wilborn’s self- BENNY THOMASSON tion after variation of “Dusty Miller,” penned “Benny’s Revenge.” Tenor banjo Say Old Man Can You Play The Fiddle “Shucking The Bush,” “Tugboat” and “Tom takes the spotlight on two Stephen Foster Voyager 345 And Jerry” seem to come effortlessly from classics, “The Old Folks At Home,” and Benny’s fiddle. This contest set is followed “Oh, Susanna.” The one vocal offering is ver since Eck Robertson recorded by two jam session selections, “Bonnie Kate” “I’ve Been All Around This World,” per- “Sally Gooden” in 1922, Texas has and “Mother’s Reel.” The recording is com- formed with a swingy bass jaunt to Ron Ebeen recognized as the home of many great pleted with a selection of tunes recorded in Stewart’s five-string bluegrass banjo. fiddlers. Major and Lewis Franklin, concert, including the classics “Midnight On The entire release is a snappy, well-cho- Norman Solomon and Bartow Riley come The Water” and “Lime Rock.” sen, thoughtfully-paced compilation. This immediately to mind. These were players This is a recording especially suited to is no “dueling bass-banjo” recording; and descended from the tradition established fiddlers, but special notice must be given Wilborn’s bass and his array of banjo part- by Robertson, but no single descendant to the fine backup by Benny’s son, Jerry, ners provide a full band sound. Take a trip was as influential as Benny Thomasson. on the tenor guitar, and the various sock on Root 5 and you’ll hear some of the best Benny was born in Runnels County and rhythm players on the six string, includ- music playing around these parts. — SPL raised in Gatesville, Texas. His dad and ing Vivian Williams, David Johns and uncle were well-known local fiddlers and Dudley Hill. These players are no less the family was acquainted with many of virtuosic than Benny as they follow his DIRK POWELL the finest, including Eck Robertson. every variation with a vast collection of Hand Me Down Contest fiddling is a big part of the chord inversions. Rounder 0444 Texas tradition and Benny entered his first I need to emphasize the casual nature of contest at the age of 19, confident to be these recordings. Nothing polished here, in n his second solo release, versatile among the top finishers among the 200 fact it’s very much like sitting adjacent to a multi-instrumentalist Dirk Powell pays contestants. He played his three tunes and wonderful jam at a festival and allowing the Omusical homage to his family’s eastern Ken- to his surprise, no one noticed. He was dis- flow to transport you to a place beyond the tucky roots and particularly to the memory of appointed with the results but vowed to simple and mundane. Sometimes you just his grandfather, fiddle and banjo player James work on his style until he would receive want it to go on forever. — TD Clarence Hay. Powell’s parents relocated the the recognition he felt he deserved. Benny family to Ohio, and Powell has since settled states in the liner notes, “And that made in southwestern Louisiana where he helps me work harder, so I worked on those MARSHALL WILBORN serve up Cajun music in Balfa Toujours. But things for years and years.” This dedica- Root 5 he has certainly not strayed far from his Ap- tion paid off handsomely as Benny would Pinecastle 1094 palachian heritage. Powell has a sure touch go on to win countless fiddle contests, in- on both fiddle and banjo, whether leading a cluding the Texas state fiddling contest 15 s the jacket’s back cover notes ex- group of energetic pickers through a romping times, the World Championship in plain, “In music, ‘root’ refers to the “Cumberland Gap” or finding the banjo’s Crockett, Texas three times and the Na- Afirst note of the scale. ‘Five’ refers to the warm, inner voice on “Been All Around This tional Fiddle Championship at Weiser, fifth note of the scale. These notes are the World, Baby Mine.” On the latter, Powell Idaho. In the process, a style of fiddling fundamentals of bass accompaniment.” demonstrates his clean, drop-thumb frailing known as Texas Contest Fiddling was born. And in Wilborn’s hands, the bass goes far on his grandfather’s old Sears Harmony banjo, A network of disciples was created, includ- beyond its traditional role as a backup in- proving that you don’t need a million dollar ing Byron Berline, Barbara Lamb and, of strument. instrument to make great-sounding music. course, Mark O’Connor. The CD showcases a baker’s dozen bass Powell favors the deep shades of the banjo’s This style takes a standard tune and and banjo numbers, employing the talents tone palette. He draws remarkable sustain adds variation after variation until the of a virtual who’s who of banjo players, from his fretless, wood-faced banjo on “Hop fiddler’s personality finally becomes ap- including Wilborn himself (overdubbed of High, My Lulu Gal” and plumbs the 5-string’s parent. Sometimes these variations make course) on the timeless “Careless Love.” other-worldly depths on the introduction to

130 Sing Out! • Vol. 44 #2 • Winter 2000 “Ride With The Devil” as he returns a tune own “Steady As The Rain” is a standout – Mike Hartgrove’s playful fiddle work composed for the movies to the Appalachian dynamic, great lyrics and the potential to is a delight on the never-old “Milk Cow tradition that inspired it. Powell also allows become a bluegrass standard. Among those Blues” (catch the doo-wop backup vo- his fiddle to show its soulful side, supplying lending their talents to this impeccable cals!). Expressive Dobro work by guest a reedy, droning accompaniment to three production are Rhonda Vincent, Alison musician Rob Ickes adds a complementary songs that showcase Ginny Hawker’s com- Krauss, Claire Lynch, Sam Bush, Jerry touch throughout the recording. pelling, West Virginia vocals and that pro- Douglas and Jim Mills, to name only a few. Masterfully recorded at Doobie Shea vide the collection’s starkest and oldest sounds With the Hazel Dickens song, “A Few Studios, John & Mary is dynamic in every – a ballad (“The Silk Merchant’s Daughter”), Old Memories,” Parton displays her genu- aspect. A must have for bluegrass and any a gospel song (“Keys To The Kingdom”), and ine rootsy side, with her slow, emotive acoustic music enthusiast. — SPL a lament (“Poor Soldier”). Hawker shares the vocals, a sad Dobro behind her, and har- vocal spotlight with Jim Miller, also an ef- monies provided by Rhonda Vincent and fective singer, whether on “Western Coun- Patty Loveless. There’s really no “down PAM WEEKS try,” driven by Powell’s prancing fiddle, or time” here, but Parton’s originals hold a Waiting For The Perseids on the mournful “Lulu Gal.” “The Cradle, The special place in their superb representation Outer Green 8939 Coffin, The Cross On The Hill,” written by of the continuity as well as the Powell, receives a soulful reading from Tracy contemporaneity of her traditional-style ooray for the teachers! Can you re- Schwarz, with Hawker adding a lonesome writing. Listen to “Endless Stream Of call an instructor who really inspired harmony and Powell a third voice and Carter Tears,” “Will He Be Waiting For Me,” or Hyou? Perhaps it was a coach or even an eco- Family-style lead guitar. Powell also contrib- the title cut, a bluesy bluegrass lament of nomics teacher. Often it’s a music teacher. utes several original tunes; each could easily getting over a lost love. It takes a special breed of musician to teach be mistaken for traditional. On “Leaning On While the album opens with a rousing, young players. A certain amount of it is A Wall” Powell’s sinuous fiddling intertwines sock-it-to-me bluegrass rendition of Billy the ability to bring out the very best in with John Hermann’s plunky frailing, while Joel’s “Travelin’ Prayer,” the final cut another person. Sometimes it takes a good on “Near And Far” his banjo dances solo, brings it all home again with the intense, long while to develop talent in another again reveling in its lower registers. This four-part a capella gospel number, “I Am person but a real teacher never gives up. wonderful album’s only flaw is that there’s Ready.” Dolly Parton delivers high energy In reading the biographical information too much rhythm guitar in some of the mixes, bluegrass from beginning to end. — SPL about fiddler/dulcimer player Pam Weeks, making such full band songs as “Little a profile can be drawn. She’s been a street Maggie” and “Going Back To Fielden” a bit musician, plays with two ensembles PB&J heavy-handed. Still, Powell’s hand-me-downs IIIRD TYME OUT and Scrod Pudding, but even more impor- are a gift to old-time music lovers. His grand- John & Mary tant she teaches young players of all ages. father must be proud. — MG Rounder 0463 She has taught at Pinewoods Folk Music Camp and the Blue Mountain Lake Dulci- owerful” describes the opening, title mer Symposium, as well as many adult cut of John & Mary, the latest re- education classes. She has organized the lease‘P from IBMA’s Vocal Group of the L/A (Lewiston/Auburn Maine) Youth Folk Year IIIrd Tyme Out. Featuring Russell Ensemble, a group comprised of young Moore’s crystal voice backed solely by musicians aged 10-18 who are interested mandola for the first minute, proceeding in studying traditional music. She is also with only spare, subtle instrumentation, director of a newly created community folk “John And Mary” is a compelling example chorus. One busy teacher! of the innovative blending of traditional Waiting For The Perseids is an all in- DOLLY PARTON and contemporary bluegrass that places strumental recording featuring a mixture The Grass Is Blue this group at the top of its craft. One of of traditional and newly composed dance Sugar Hill 3900 two songs penned by band members, the tunes. Members of Scrod Pudding and PB& number puts a modern soul spin to an old- J contribute their multi-instrumental tal- oining the ranks of other country and timey sound. ents to the recording. This is mostly North- pop artists who have acknowledged The second original, “Lovin’ You ern music, that is, dance music with a de- theirJ roots by producing a “traditional” re- Goin’ Blind,” is a rock-solid bluegrass cided Celtic or contra-dance base. Most of cording, Dolly Parton declares The Grass contribution to the album’s well of excel- the tunes are arranged in medleys. An ob- Is Blue in this, her first bluegrass record- lent material. “Snow Angel,” written by vious difference when first listening to ing. Recognized as an “American original” brothers Billy and Terry Smith, continues Waiting For The Perseids is the speed with with an unmistakable voice, Parton brings the Monroe tradition with outstanding lyr- which most of these tunes are played. They back a certain edge here reminiscent of re- ics. Loretta Lynn’s and Teddy Wilburn’s are stately in their moderate tempo, allow- cordings from her early years. The combi- “I Pray My Way Out Of Trouble” provides ing the simplicity of the melody to shine nation of the drive, the instrumentation, yet another superb platform for Moore’s through. At first I felt that this was a sign and the song selection all revive a feeling rich tenor voice, while “Bobby And Millie” of a less than assured player, but with sub- lost when country and bluegrass went their as well as Hugh Moffatt’s “Rose Of My sequent listening the beauty and the vari- separate ways. Heart” are engagingly beautiful. The high- ety of the tunes and the arrangements be- Backed up by a stellar selection of mu- speed “Out Of Sight, Out Of Mind” dem- come clear. sicians, Parton compellingly belts out such onstrates adeptly the band’s exacting vo- Pam is a fine fiddler with a delicate classics as “I Still Miss Someone” and “I cal phrasing as does the gospel harmony touch that indicates a classical background. Wonder Where You Are Tonight.” Her singing on “Just Call On Him.” Her Appalachian dulcimer playing is lively

Winter 2000 • Vol. 44 #2 • Sing Out! 131 and has harpsichord flavor to its intricate but these guys are no latecomers with pre- the trios are nicely done, and the gospel sound. I found myself checking the cred- tensions – this is a band with a history. In quartet “Forever In Glory” is a treat as its during the medley of “Dan The Cob- the Southern California bluegrass scene of well. In addition to the above named cuts, bler/Brandy’s Trip To Tumbledown/The the 1970s, guitarist Ken Orrick and man- the opening “Roll On River” is likely to Merry-Go-Round” to check if it wasn’t a dolinist Ken Harvey were the mainstays of be a favorite as well. All in all, it seems keyboard instrument taking the lead. The a lineup that at one time featured a young that the band’s name matches their sound title tune, written about the Perseid meteor Stuart Duncan on fiddle. That version of pretty well. — JL shower, which occurs each August 12th the band broke up during the ’80s, but as and 13th, is a tune that belies its roots in the ’90s drew to a close Orrick and Harvey Maine. It sounds much more middle-Eu- reformed the group, adding Dick Brown on ropean, and the traditional Scandinavian banjo, Paul Shelasky on fiddle and hambo “Trollspolka” transports us to the Marshall Andrews on bass. After making land of the midnight sun, with dancing feet a big splash at the annual International all ablaze. Bluegrass Music Association trade show As any great teacher should, Pam de- in 1998, they signed on with Virginia- scribes the circumstances under which she based Hay Holler Records, and Headin’ learned or was inspired to write each of Down That Lost Highway is their first ef- the tunes in the liner notes. She describes fort for that label – and a good one at that. TOP DRAWER STRING BAND a visit with Bill and Libby Hicks on Liner notes can generally be expected Top Drawer String Band Okracoke Island in North Carolina as the to contain more than a little hyperbole, but Fossil 1199 source of the tune “Cattle In The Cane,” a Chris Stuart (himself a well-known blue- part of one of the few Southern medleys grass singer and songwriter) is on the mark ith the increased popularity of tra- on the recording. She has learned other when he invokes the memory of Carter ditional dance and the necessity for tunes from sources such as The Ususal Stanley in his comments. It’s not that musicW especially designed for those commu- Suspects and Alan Block as well as fellow Orrick and Harvey sound exactly like nities, many musicians have begun to play members of Scrod Pudding. Carter and Ralph – this is most definitively dance music. This could be square, contra, It’s on her own compositions where not a Stanley clone band – it’s more that ethnic or any combination of styles. Few or- Pam’s fiddling is the strongest. “Sebec their writing and singing evokes the same ganizations are as talented and bouncy as Lake Waltz,” a lovely and delicate tune, is kind of feeling and imagery that distin- Michigan’s Top Drawer String Band. dedicated to a fellow Scrod whose cabin guished the Stanleys’ music from that of The band has been playing square and has contributed much-needed solace Bill Monroe, Reno and Smiley, and the rest contradances since 1978 with a floating through the years. “Tumbledown Switch- of the first-generation bluegrass greats. membership. As in the case of many dance back” is as crooked and foreboding as the The thought that will likely come to mind bands, Top Drawer started out as a house hiking trail it’s named after. among many listeners is apt to be that they band for local community dances. The The recording offers interesting twists don’t sound like a California band, but present configuration includes master vio- in accompaniment. Percussion here, ham- then, Orrick is a transplanted Tennessean. lin maker Brian Bishop on fiddle, Laura mered dulcimer there, even some harmony Most of the tunes on Headin’ Down That Stein on piano and the multi-talented Joel fiddle, piano and mandolin for variety. No Lost Highway are originals by either Orrick Mabus on banjo, guitar and fiddle. The re- element is overused and this recording was or Harvey, though Shelasky contributes a cording features about an equal number of most obviously a labor of love for all of fine effort, “Your Heart And A Promise,” traditional and newly composed tunes by the players. The listener is offered a tune and they do a good job with “Willow Creek members Bishop and Mabus. The sign of a cycle with a wonderful, airy quality. Dam” (written by the great bluegrass good new tune is that it is unrecognizable Pam has described Waiting For The songwriters Pete Goble and Leroy beside the traditional repertoire. In that re- Perseids as music inspired by the beauti- Drumm), Stephen Foster’s “Little Annie,” gard this recording succeeds in all areas. ful mountains and lakes of inland Maine. and the album’s only instrumental, “Bantry Did I mention that these are top-notch The listener is transported to lands far Bay.” Oddly enough, it’s the latter cut that players? Bishop is as comfortable with tra- away from home. After all, isn’t that what may be the most representative of the ditional American tunes like “The Falls Of a great teacher is supposed to do? — TD band’s sound. The contrast between Richmond” as he is with the more Celtic- Smith’s banjo and Shelasky’s gives the flavored contradance tunes. His is an au- tune an eerie feeling that’s part rocky Irish thoritative and driving fiddle style as he LOST HIGHWAY shore and part Appalachian hollow. leads his fellow players through medley Headin’ Down That Lost Highway The continuing curse among bluegrass after medley. “The Big Medley,” a collec- Hay Holler 1345 bands is that, all too often, there’s an un- tion of no less than eight tunes strung to- even balance between the instrumentals gether, is a perfect example. It is much sim- he iconic image of the “Lost Highway” and the vocals, and it seems to be the case pler to keep a two or three tune set on track, has been a staple of the country mu- that, more often than not, it’s the latter that but keeping the drive going after the sixth Tsic industry for the last half-century, from suffers most. The woods are full of bands or seventh tune is the sign of a true master. the moment in 1949 that Hank Williams that can pick the daylights out of whatever The rhythm is in great hands with Laura turned Leon Payne’s song of the same they take a crack at, but it’s unusual to find on piano and Joel on guitar and banjo. Joel name into a standard in the repertoires of bands that know what bluegrass singing is Mabus is well known in folk circles for his honky tonk and bluegrass bands in every all about, and even more unusual to find many recordings of traditional and origi- corner of North America. There could well bands as well-balanced as Lost Highway. nal tunes as well as flatpick guitar and be hundreds of bands that have called All five are good instrumentalists, both clawhammer banjo. Laura is a transplanted themselves Lost Highway over the years, Orrick and Harvey are solid lead vocalists, Boston dance pianist and her rhythm is al-

132 Sing Out! • Vol. 44 #2 • Winter 2000 ways steady with just a hint of bombast. For exceptional rhythm playing sample the Brian Bishop original medley of “Big Nick’s Rolling Reel” into “Sean Rio’s.” Case covers, gig bags, & cases, The rhythm is absolutely fantastic. It’s so custom-made, using the close to the edge that you feel the musi- Double Case System - foam cians will self-destruct at any moment. & hollowfill case inside, Mabus’ sliding guitar chords and the pi- durable cordura case outside. ano swooping in and out of the tunes makes Comfortable cushioned handles. Semi-hard option It’s a guitar of for a truly exhilarating listen and must be with plastic shield, a sure-fire winner at the local dance. guaranteed to fit. FREEDOM ... The beautiful waltz “Lasses Of Janiveer,” FREE BROCHURE! a Mabus original, features Joel on fiddle and P.O. BOX 1104 Laura on piano. It follows “Big Nick’s ...” DRIGGS, IDAHO 83422 and its loveliness serves almost as a sorbet 208 • 354 • 8636 between courses of tasty fiddling as it’s fol- lowed by “The Big Medley.” The true test of a dance band for me is if they are persuasive enough in rhythm and musical talent as well as diverse enough to sustain an evening of dancing as well as listening. Top Drawer is that and much more. The band was named after a comment made by a caller about Laura’s piano playing. It’s a fitting description for a truly Top Drawer String Band. — TD

JOE THOMPSON Family Tradition Rounder 2161

nce a thriving part of community so- cial life in the southern Appalachians, Oblack stringband music, like its white counterpart, arose from pre-Civil War fiddle and banjo tunes drawn from both black and white sources. The music con- tinued to flow freely between both groups well into the 20th century, intermingling in a way that transcended political, social, and economic segregation, until it fell vic- tim to the intrusion of mass media and es- pecially rock-and-roll following World War II. North Carolina fiddler Joe Thomp- son is one of the few contemporary survi- vors of the black stringband tradition, hav- ing been coaxed out of musical retirement, along with his banjo-playing cousin, the late Odell Thompson, in 1970 by folklor- ist Christopher Lornell. This collection is the first recording to focus on Joe Thompson’s fiddling. Accompanied on most tracks by banjo (played by producer Bob Carlin), guitar, and bass, Thompson’s fiddling is rough-edged with lots of slides and double stops. His singing is strong and expressive, whether on dance tunes or religious songs. On the live “Oil In My Vessel,” tastefully abetted by Scott Ainslie’s slide guitar, Thompson joins “Keep Your Lamp Trimmed And Burning” and “Amazing Grace,” while he sets the fiddle aside for an elegiac treatment

Winter 2000 • Vol. 44 #2 • Sing Out! 133 of “I Shall Not Be Moved.” Interestingly, for the folksong collectors and others were sistible pulse. The recordings featuring Thompson learned the latter hymn, long more hesitant to give away their traditions. Jimmy Peters and the ring dancer singers associated with African-American tradition, The purpose of this trip to Louisiana have a sound that is simply mesmerizing. from a white neighbor. Other tracks reflect was to capture the more archaic, unaccom- It is obvious that the listener is witnessing inter-cultural borrowing as well: the calls panied Cajun vocal and instrumental a special ritual. It almost feels like eaves- Thompson provides for “Old Corn Liquor” styles. The new music coming out of Loui- dropping. would have been used for either black or siana in the mid-1930s was a commercial “Blues De La Prison,” sung by Joseph white dances; the blues-ballad “Careless mixture of French and old-time styles and James, is perhaps the selection that most re- Love” clearly straddles the racial border; was widely recorded and heard in the sembles the Delta blues on this collection. and the fiddle chestnuts “Old Joe Clark” and dancehalls throughout the area. Translate his vocal swoops and cries into “Soldier’s Joy” are wide-spread old-time In the first volume, we are introduced English and it closely resembles the artistry and bluegrass staples. “Black Eyed Daisy” to the Hoffpauir family of New Iberia. of Blind Willie Johnson. Barry Jean and “Cindy Gal,” with Thompson’s fiddle Their unaccompanied vocal style is remi- Ancelet, in his detailed song notes, suggests joined only by Odell’s banjo, represent the niscent of the balladeers of their homeland that it is not known how early recorded roots of all of these. Thompson’s brief in- in France. The family patriarch, Julien music influenced singers such as Mr. Jones. troductions to some of the tunes add a per- Hoffpauir, carefully passed the tradition on Questioning the source of the style and in- sonal touch and a reminder that this music to his daughters Ella, Mary and teenaged spiration of Mr. Jones takes nothing away was essentially home-based. It is a great loss Elita. Elita proved to be the most talented from his performance. It is a highlight on a that it does not seem to be inspiring the next of the three, offering three solo perfor- recording filled with revelations. generation to keep it alive, making this re- mances and three others in combination In his introductory notes, Alan Lomax cording – along with other recent collec- with her sisters. In her voice you hear the mentions that today he has second thoughts tions of contemporary African American piercing, unadorned emotional quality about not including more professional stringband music (Smithsonian Folkways’ found in the best traditional Cajun sing- dancehall performers in this project. To- Black Banjo Songsters and Rounder’s The ers. Included on this set from Rounder are day these artists are represented in vari- North Carolina Banjo Collection [SO! four previously unreleased performances ous collections and their music survives. v.43#1]) that much more valuable. — MG from the Hoffpauir family. Not so the artists included on this collec- The second half of the first volume is tion. Lomax describes his travels in a devoted to fiddles and accordions. The Model A Ford with “moveable” rather than style of Wayne Perry demonstrates the “portable” recording equipment. The older song form with regular rhythms and equipment included batteries, an amplifier, a much more lyrical European style and speaker and disc recorder and weighed in sound. It features classic embellishments at around three hundred pounds. The re- and ornamentation. Wayne Perry was a cordings were cut directly to aluminum wonderfully gifted fiddler and no other disc and he reminds us “when tape and recordings exist of his distinctive solo plastic recordings have turned to dust, the style. The Segura Brothers were obviously originals of the Cajun discs will be as good VARIOUS influenced by Delta blues. Their style is as ever, for aluminum is almost as time The Louisiana Recordings: Cajun & typified by extended instrumental lines, tested as gold.” I beg to differ, for these Creole Music 1934-1937 shouting vocals and a driving rhythm. The aluminum disc recordings are even more Rounder 1842 creole accordion of Oakdale Carriere and valuable than gold. — TD the harmonica and vocals of Paul Junius VARIOUS Malveaux and Ernest Lafitte close Volume The Louisiana Recordings: Cajun & I with even more energy. The influence of DAVID DOUCET Creole Music II 1934-1937 the Delta is once again heard in the fine 1957: Solo Cajun Guitar Rounder 1843 vocals and the addition of the harmonica Rounder 6088 is a real surprise. The little brother to the originally purchased these recordings accordion is well suited as an accompani- n his 1985 Quand j’ai parti (Rounder when they were issued on the Swallow ment instrument. #6040), Beausoleil guitarist David recordI label in 1988, I was as intrigued by Volume two features a collection of a ODoucet introduced the flat-picked acous- the cover photos as with the music. The front capella songs performed by a variety of tic guitar as a solo Cajun instrument. Now, cover of the two-LP set pictured a dance hall male singers. These are deeply personal after far too long, he’s back with a second in Louisiana with all of the patrons minding testaments to the many aspects of life and solo album. This time, however, Doucet their own business save for one fellow in a they display a variety of states of mind. emphasizes the finger-picking side of his fedora cautiously watching the picture be- Included are serious ballads, comic songs unique approach to Cajun guitar playing. ing made. The back cover features two nattily and inebriated howls. It is rather curious He also sings on most of the tracks. Like dressed creole musicians in the back of a car. to hear barroom chorus vocals sung by his guitar playing, Doucet’s singing is One is holding a buttonbox accordion and duets of male voices. Bonding and the cast- forceful and rock-steady. It’s a wonderful the other a rubboard. The photo seems to ing off of inhibition are much easier with combination. catch these musicians in performance for the the addition of alcohol. This recording is also a true solo ef- photographer. In the second half of volume two, sub- fort. Doucet performs without any I think these photos aptly describe the titled Zydeco, Juré and the Blues, we are sidemen, giving the guitar both a new voice travels of John and Alan Lomax into the introduced to the African-Caribbean com- and a new role in Cajun music. Although bayous and prairies of Louisiana in 1934. ponents in the development of Zydeco. he adeptly captures the bowing inflections Some musicians were anxious to open up This is raw rhythmic singing with an irre- of the fiddle on “Port Arthur Stomp,” and

134 Sing Out! • Vol. 44 #2 • Winter 2000 achieves the staccato eighth-note drive of a full trap set. The band’s instrumental (or mandola, in a couple of instances) with the accordion on “Bayou Sorrel,” Doucet sound is very much like Steve Riley and one other instrument, played by one of the doesn’t use the guitar to imitate these other the Mamou Playboys, but the vocal sound cast of fellow virtuosos he’s recruited for instruments. Moreover, unlike the typical is a different story. The lead vocals are the project. It’s a cast that deserves full Cajun band with its crying fiddle and much more traditional, with the plaintive mention here, ranging from seventy-some- wheezing accordion, Doucet’s guitar de- cry so characteristic of the best traditional thing bluegrass fiddler Vassar Clements to livers a wall of full, bright sound, with Cajun music. Perhaps this is due to the eleven-year old jazz guitar prodigy Julian resonant bass notes and ringing chords song selection, with the most successful Lage. In between are two banjo wizards, supplying an almost orchestral accompa- being the traditional based material. The Béla Fleck and Mike Seeger; bass player niment to the dancing melody lines. His lead on “Bo Sparkle Waltz” is sung in a Edgar Meyer; the incomparable Mark use of a variety of open tunings allows him voice so high that you easily find yourself O’Connor on violin; jazz/swing drummer to maintain a steady bass and to utilize the understanding the emotion of the song Hal Blaine; Indian Raga percussionist entire neck to pick the melody. The result without speaking a word of Cajun French. Zakir Hussain; pianist Denny Zeitlin; is, first and foremost, guitar music, clearly “Hip Et Tieaux” the Cajun mouth music autoharp master Bryan Bowers; National influenced by such fingerpicking masters classic is joyous in its spirited rendition. steel guitar legend Bob Brozman, and the as Doc Watson and Mississippi John Hurt, On the flip side, Floyd Guilbeau’s “Take late accordion great Jim Boggio, who but also quite new and original. On Amédé A City Bride,” and “Travelin’ Light” by passed away in 1996. Ardoin’s “Midland Two-Step,” Doucet Bob Neuwirth and Peter Case, are light and Time and space will not permit a full evokes African guitar styles, while his own surefire performance favorites, but perhaps description of each of the tracks here, but “Les Blues des Routes” moodily conjures should have not been included in a collec- in each case Grisman and his partner show up the southwestern Louisiana mist. tion of such strong traditional material. just how much can be achieved with only Doucet is particularly skillful at picking That said, “Louisiana,” a contemporary two instruments, even if they’re as dispar- in waltz-time, a technique rarely heard tune by Percy Mayfield, works very well ate as Grisman’s mandolin and Blaine’s from most fingerpickers. “Port Arthur as a slinky swamp boogie with muted toms full drum set. In fact, the two cuts featur- Waltz,” for example, combines an embel- and modal-like harmonies. ing percussion (“Buttons And Bows,” with lished melody with bluesy touches that The highlights of this recording for me Blaine, and “New Deli Duo,” with compliment Doucet’s crying vocal. His one are the first and last selections, each a Hussain) are among the more interesting flat-picked offering, “Baiolle” is also in 3/ fiddle duet featuring Karen England and pieces. Speaking only for myself, I found 4 time and is notable for Doucet’s ability producer Al Berard. The tunes “Madame both Zeitlin’s piano work on “Anouman” to tastefully state and subtly embellish the Etienne/Rosalie” and “Courville-McGee (A Django Reinhardt piece) and Seeger’s melody as well as to provide a rich yet Waltz” are recreations of the wonderful clawhammer banjo on “John Johanna” es- simple setting for his mournful vocal. duets of Dennis McGee and Sady Courville pecially haunting, but to repeat, this is a Once again, David Doucet has broken recorded in the 1920s that remain classics very eclectic assortment of music, all of it new ground within Cajun tradition. Lov- to this day. The arrangement of lead fiddle exquisitely done, and there’s plenty of it ers of both the acoustic guitar and Cajun with fiddle chordal backing is seldom (more than 61 minutes). Another listener music should be delighted. — MG heard on modern recordings and is a wel- might come up with an entirely different come nod to a tradition worth reviving. set of favorites, and there’s not a thing We are living in a wonderful time when wrong with that. — JL HOW’S BAYOU many styles of traditional-based music Pardon My French exist side by side in our record collections. Artdeco 102 There is a thriving Cajun dance scene in as remote an area as you can imagine in radition crops up in the strangest Seattle, Washington. We need to thank places. In 1978, after meeting Dewey those contemporary pioneers and feel good TBalfa and Marc Savoy at the Festival of that Cajun music in the next century is in American Fiddle Tunes in Port Townsend very good hands with bands as dedicated Washington, bassist Mike Bristow, fiddler and talented as How’s Bayou. — TD Karen England and accordionist Dave Lang formed How’s Bayou. They were the MASSIMO GATTI first Cajun band in the Northwest and have DAVID GRISMAN AND FRIENDS Il Sogno Di Icaro been performing for over 20 years. Par- Dawg Duos Arcipelago 9801 don My French is their second recording. Acoustic Disc 38 Pardon My French, produced by Al taly’s Massimo Gatti is one of Europe’s Berard of the Basin Brothers, is a fine mix avid “Dawg” Grisman has long been top mandolinists. This consummate of Cajun, zydeco and swamp music from among the most eclectic musicians on musician’sI resume includes numerous col- the plains and bayous of Louisiana. Round- Dthe scene, always willing and eager to seek laborations and credits within classical, blue- ing out the band are Paul Mooney on gui- out new sounds and take chances that oth- grass, Celtic and other acoustic music genres. tar and Jay Weaver on the drums. Berard ers might not. Dawg Duos highlights this On this side of the Atlantic, you might rec- guests on fiddle and electric guitar on a side of the mandolin virtuoso, while at the ognize his name as composer of “Frangenti,” number of selections and former drummer same time, almost paradoxically, demon- recorded by Butch Baldassari and the Nash- Ben Lang contributes electric guitar to a strating how beautifully simple music can ville Mandolin Ensemble, and most recently driving “Chere Bebe.” be when stripped down to the bare essen- by jazz great George Winston on his Plains The instrumental sound is pure ’90s tials – in this case, a dozen instrumental CD. He was also a member of the European Cajun with the addition of electric bass and tracks featuring only Grisman’s mandolin bluegrass supergroup, Euro Grass.

Winter 2000 • Vol. 44 #2 • Sing Out! 135 Gatti’s latest is a highly imaginative Bruce says he got from the great Georgia fid- Neil Gow and Scott Skinner, and impresses CD, the majority of which contains origi- dler Lowe Stokes. Helping out with backup with his own. This mix of poignancy and nal compositions. Gatti’s many influences vocals and instrumentals are John inspired silliness reminds me of what are evident, from the Celtic “A Place In Reischmann, Jim Nunnally and Tom Rozum, Firesign Theater would do if they ever The Heart” to the gypsy strains of “Tzigani but for the most part, it’s just Bruce’s pleas- made a fiddle album. — RWeir Mood,” to the slow-swing, jazzgrass- ant, comfortable voice backed by his own tinged “Swanbach Farm,” a Gatti original mandolin and finger- and flatpick guitar on which 1999 IBMA Fiddle Player of the work. Bruce’s own description of My Folk CELTIBILLIES Year, (the late) Randy Howard, guests. Heart is “vocal and instrumental Ameri- Come Dance & Sing “Duo For One Mandolin” demonstrates cana,” and that’s a pretty straightforward and Zygoat 1001 keenly Gatti’s exacting and emotionally honest assessment. — JL expressive touch. he Celtibillies are a quintet of tradi- For the opening/title cut and for the tional musicians from Virginia. Come recording’s final tune, “The Two Daddies DanceT & Sing is a fusion of Celtic and Ap- Dance Again,” Gatti is joined on banjo and palachian songs and dance tunes. This gen- guitar respectively by Swiss bluegrass sen- erous CD is chock full of good music. The sation Jens Krüger (the Krüger Brothers), centerpiece of the band is the hammered who also wrote the latter. Other supporting dulcimer and piano of Becky Barlow. musicians include Aldo Navazio, Ugo Binda Along with fiddler Jack Hinshelwood, the and Andrea Cerati on a variety of acoustic, Celtibillies take us on a trip through the classical and flamenco guitars, cellist traditions of the southern mountains into Claudio Frigerio, Stefano Bonvini on violin HOWIE MACDONALD Ireland and Scotland. Exposing a little- and viola and Paolino Dalla Porta playing Why2Kelidh known geologic fact, they explain in the double bass. Gatti performs not only on man- Howie MacDonald (no catalog #) liner notes to Come Dance & Sing how the dolin but also on mandola and mandocello. subterranean vein of a green material This recording is masterfully paced and ith sets and tunes sporting names known as serpentine follows the Appala- produced, with exceptional material and like “Ten-Pound Tumour,” “Herman chian Trail into Nova Scotia. That same unmatched clarity. The liner notes are po- Munster’sW Reel,” “Kilts On Fire,” and “Old vein is traced to the mountains of western etic, written in both Italian and English, Scotty Stuff,” you know you’re in for a Ireland into Cornwall, Wales and eventu- and each composition is accompanied by dose of irreverence. Cape Breton’s Howie ally the Orkney Islands. Perhaps there’s its own watercolor painting in miniature. MacDonald has his tongue firmly in check more to this fusion of musical culture than The straightforward melodic style of Il and his fiddle bow loosely in his supple just immigration. Sogno Di Icaro will entreat the listener to hand on a project that is simultaneously Come Dance & Sing is full of recog- join in Massimo Gatti’s gentle and peace- hilarious and impressive. The “hook” is to nizable tunes from both sides of the water. ful “sogno.” — SPL imagine a Cape Breton version of Times The dance tunes are the most successful Square on New Year’s Eve of the Millen- and are mostly arranged into medleys. The nium. In that spirit, live tracks contain hammered dulcimer takes the lead on about DIX BRUCE laughter, snide remarks, horseplay, and half of these and Becky’s style is bouncy My Folk Heart drunken revelry. “Scotch Music” is a hip and very danceable. Jacks’s fiddling is Musix 101 hop reel whose parody of Cape Breton par- very assured and no less rhythmic and driv- allels what the Coen Brothers did to Min- ing. The rest of the ensemble, including f Dix Bruce’s name seems familiar, but nesota in the film “Fargo.” In this case, Tim Sauls on banjo, bouzouki and guitar, you just can’t quite place it, over the last MacDonald highlights the clash between Bob Thomas on bass and bodhran and coupleI of decades he has authored a number island accents, traditional music, and Patrick Turner on bass provide solid of mandolin instruction books in the Mel Bay kitchen parties on one hand, and the com- backup on the various selections. All mem- series, not to mention the numerous cover mercial world of TV, Wal-Mart, and tour- bers except for Patrick contribute vocally. designs and liner notes he’s done for ism on the other. It’s the same wide open Two standout medleys feature Jack on Arhoolie, Sugar Hill and other record com- perspective that allows MacDonald to ap- fiddle. I have never thought of the “28th panies. As he says in the notes for his own propriate themes from “The Beverly Hill- Of January” as a West Virginia tune as sug- disc, My Folk Heart, he’s also performed in billies” or “The Adams Family” in one gested in the notes, but in the Celtibillies just about every setting over the years: blues, measure, and move into a well-executed hands it becomes one. Paired with “Shakin’ jazz, swing, bluegrass, country, you name it, Cape Breton jig or reel in the next. This is Down The Acorns,” the Hammons family but when he’s alone, he just seems to find by no means just an exercise in self-indul- classic, it certainly works. The trio of two himself going back to the old songs, four- gent wit. In the midst of the jollity lie fiddle Irish tunes, “Sally Gardens” and “Rakish teen of which he recorded in 1989 (a fif- sets that are precise, exciting, and master- Paddy,” and “Jack Broke Down Da Prison teenth, a self-composed waltz tune, was re- ful. This is especially obvious in “Smooth Door” from the Shetland Islands, must be corded in 1990). The track list for My Folk Eddy.” It opens with a no-nonsense reel sure-fire dance favorites wherever the band Heart includes such well-worn standards as and evolves into a sort of Celtic hand jive plays. Becky’s piano accompaniment is “Gold Watch And Chain,” “Railroading On bridge. But MacDonald pulls out, and into perfect for the playful fiddle and banjo The Great Divide,” “The Coo-Coo” and a wonderful cover of Tommy Peoples’ de- conversation. “Grandfather’s Clock,” but there are some manding “The Green Fields Of Glen While the instrumental tunes are very relatively unknown gems on the disc as well, Town,” thereby proving that he can cut a consistent in their quality, some of the songs like “I Wish I’d Bought Me A Half Pint And rug, as well as cut up. MacDonald also seem to veer away from the apparent Stayed In The Wagon Yard,” a wry tune that dazzles on classical compositions from premise of this recording. Here we find

136 Sing Out! • Vol. 44 #2 • Winter 2000 many different traditions existing side by spirited reels and dancers flung themselves and Shep Lonsdale on djembe and side. Being from Virginia and not County across the boards. That “Irish” ensemble doumbek. Okay, so this isn’t exactly vin- Clare will cause the vocals on the Irish tunes is actually two Americans, two English- tage Irish music from when the Titanic to take on an Americanized style that is not men, and one actual son of Erin, cumula- went down in 1912 – a time when young as apparent in the dance tunes. Here famil- tively known as Gaelic Storm. If you en- Michael Coleman practiced fiddle licks not iarity can be a problem and perhaps a bit joyed their scene from Titanic as much as djembe beats – but for once, Hollywood’s more editing would have been called for. I, you can hear it on their latest CD. illusion improves on history. — RWeir Do we really need another version of “Little Gaelic Storm is a one part Celtic, one Beggarman” or “Wind And Rain?” The ar- part maritime, and several parts party band. rangements seem more performance ori- Their irreverence, sea shanty-like vocals, EQUATION ented and are probably standouts in concert. hoppy beats, and Irish-style instrumenta- Hazy Daze I understand that audiences would probably tion evoke comparisons to Newfound- Putumayo 155 clamor for their favorites but is that really land’s beloved Great Big Sea and Maine’s a reason to record them? That’s a question lusty Schooner Fare. The album opens with t’s hard to beat the British press when it all ensembles have to wrestle with. the infectious “Drink The Night Away,” a comes to hyperbole. It has compared Those concerns aside, Come Dance & paean to the glories of alcohol and cama- EquationI to The Cranberries, Indigo Girls, Sing is a strong effort with fine musician- raderie that leaves you humming its tune Fleetwood Mac, Pentangle, and Fairport ship and a lively dance beat. Next time I’m long after you quenched your thirst. The Convention. Remember the Sesame Street hiking on the Appalachian Trail I’m going same themes are explored instrumentally teaching jingle “One of these things is not to look for that vein of serpentine. — TD in “After Hours At McGann’s,” a set in- like the other?” None of these five is re- spired by the famed eponymous Doolin motely similar, so here’s the straight info: pub. Sea songs get a workout on the rol- Equation – formerly The Lakeman Broth- GAELIC STORM licking “South Australia” and the bitter- ers – is a fairly standard pop band playing Herding Cats sweet “Heart Of The Ocean.” Patrick true to the expected formulae. This album Omtown 48091 Murphy, who sets the musical table on ac- would not be worth your time were it not cordion and harmonica, handles lead vo- for two important cracks in the pop veneer. hile everyone else was ooohing over cals with aplomb. Steve Twigger’s guitar Crack number one is the occasional – and Leonardo DiCaprio and ahhing over and mandolin establish strong frameworks in my view, too rare – fiddle interlude from KateW Winslett, my favorite parts of the from which Samantha Hunt’s fiddle depart, Seth Lakeman. On “Sister” he echoes a movie Titanic were the below deck party while the ensemble’s driving percussion is catchy guitar lick to give it a unique edge. scenes in which “Irish” musicians played anchored by Steve Wehmeyer on bodhran, Lakeman’s faintly Irish licks provide the

Winter 2000 • Vol. 44 #2 • Sing Out! 137 only serious departures from pop musical strumentation beyond an occasional flute, Working from a full drum kit, percussion- clichés. He makes the fiddle cry on “My- concertina, or fiddle, because it showcases ist Brian Tracey does more than merely self,” and frames the mix of passion, con- preservationists mining old songs and sing- establish a beat; his driving pulse struc- fusion, and apprehension about which ing them with the simplicity and gusto of tures each song and he uses complex cross- Kathryn Roberts sings. villagers from another time. Even a quick rhythms that bounce off Ray Kelly’s gui- She’s crack number two and the real listen to “The Pretty Drummer Boy” re- tars and Gregory Grene’s accordion with reason to buy the album. If ever there was veals that the only instruments needed are such precision that they sound like a lead a case of a single individual elevating ma- a pair of lusty voices. Tracks including instrument. He does for this band much as terial beyond its natural level, it’s Roberts Lal’s daughter, Maria, only increase our Liam Genockey did for Steeleye Span. here. Kathryn Roberts is extraordinary, simple pleasures. — RWeir Time signature framing is left to bass exuding more emotion in a single sigh than player Andrew Harkin, though he tosses most divas can manage in an aria. On off quite a few wonderful riffs of his own. “Strange Love,” the album’s best track, BRIAN MCNEILL Aside from a guest turn from Marie Roberts uses ever-so-subtle voice shifts to To Answer The Peacock Reilly, there’s none of the expected fiddle tell the story of a doomed relationship from Greentrax 170 that so defines contemporary Irish music. meeting to parting and captures its vary- Lead vocals are shared by Kelly and Grene, ing moods in just three and a half minutes. rian McNeill’s latest musical venture who are the ying and yang of singers. Roberts graces every track of this album. ties directly with his other passion: the Kelly’s voice is rough and gravely, per- I’d like to hear the rest of Equation spread Bwritten word. Both the title of the album fect for the band’s more punk-influenced its musical wings to match her. — RWeir and his new novel, To Answer The Pea- productions in which buzzy guitar slices cock is a celebration of the unique lives of through minimalist arrangements. These and bonds between traveling musicians. make a nice change of pace, but the music McNeill, the fiddler and author, describes comes alive when Grene sings a smooth his chance meeting of an old friend who is original like “Alchemy,” or use his accor- home visiting former haunts. Called by dion to set a traditional pace from which McNeill “the best Scottish fiddler of his to depart on “The Open Reel.” The con- generation,” this aged but still charismatic trast in approach is especially stark be- enigma has lived out McNeill’s dream of tween Kelly’s cover of The Dubliners’ both traveling the world busking, and of “Weile Waile,” and Grene’s of Tommy playing the ultimate violin. Friendship Makem’s “Ballybay.” Both are driven by LAL AND NORMA WATERSON overrules an unwonted envy, and stories, Tracey’s percussion, but the first sounds A True Hearted Girl tunes, and drams fill the evening. The al- whiskey-soaked and aggressive while the Topic 507 bum contains the tunes described as being latter is silky and whimsical. The Prodi- played for his friend that night. These are gals seek to breathe life into Irish music MIKE WATERSON mostly new originals, many paying tribute by infusing it with electric energy. Ironi- Mike Waterson to fellow musicians and friends, while cally, though, they are at their best when Topic 516 some were composed after being inspired they don’t venture as far afield. — RWeir by the tales that were told that night. side from the occasional misstep into As with most of his work since leaving pop music, there are few Waterson Battlefield Band, this is a Brian McNeill CHRIS FOSTER familyA recordings that are not considered solo album in the strictest of terms. With Traces “classics.” Thanks to compact disc tech- the exception of guitar on four tracks Green Man 001 nology, scratchy and out-of-print vinyl in- played by Jed Grimes (who figures in the creasingly re-emerges in a cleaner format. story as well), every bowed, plucked and inger and guitarist Chris Foster sud- Mike Waterson’s 1977 solo effort – strummed instrument is played by McNeill denly appeared on the English Folk supplemented with two tracks from 1966’s himself. A lively spirit and well of emo- sceneS in 1978 with a debut album that belied A Yorkshire Garland – is again available. tion is found in every tune. The final se- his tender years. While clearly influenced by With a voice I’ve always (affectionately) lection on the album is a 17 1/2 minute the likes of Nic Jones (who guested on fiddle) called “Ewan MacColl underwater,” Mike reading of the entire first chapter of the and Martin Carthy, there was a maturity and Waterson reduxes now – standard rendi- novel. McNeill’s voice has an earnestness highly distinctive quality to his voice and tions of songs like “The Brisk Lad,” “The and intimacy that both satisfies and leaves playing, and a knack for uncovering and re- Cruel Ship’s Carpenter,” and “Seven Yel- you longing to read the full book. — AN interpreting some tremendous traditional low Gypsies.” Whether leading the entire songs. His follow up the next year, All Things Waterson clan as in a sporting song like In Common, did more than live up to the “The Light Dragoon,” a bit of music hall THE PRODIGALS promise of the first: it was a masterpiece. It fluff like “Bye, Bye, Skipper,” or going it Go On ranged from the serious to the sardonic in a alone with the pathos-laden “Sorry The West Side 1102 brilliant mix of traditional and contemporary Day I Was Married,” his resonant voice is songs. Its centerpiece was one of the earlier simply one of the most distinctive in the he Prodigals are cut from the same (and still one of the best) covers of Leon history of folk music. It’s as if he was a rock-and-reel cloth as The Pogues, Rosselson’s epic “The World Turned Upside one-man soundtrack for Yorkshire. TBlack 47, and the Saw Doctors. What dis- Down.” Countless gigs and a memorable US Also in 1977, sisters Norma and Lal re- tinguishes them from a host of other elec- tour followed, but suddenly Foster com- leased A True Hearted Girl. Like Mike’s tric Celtic bands is the extraordinary man- pletely dropped out of musical sight. Appar- album, this one features little backing in- ner in which The Prodigals use percussion. ently fed up with the business end of it, he

138 Sing Out! • Vol. 44 #2 • Winter 2000 devoted his time to his other love, the visual of the instrumentals sound as if they could smooth, as demonstrated on “Shift,” where arts (he designed the covers of both albums). be. Typical of Tarras’ approach is the “Da Ronalds’ poignant vocals and Brian Fast forward: Chris Foster is back, and Fields O’Foula” set. Jon Redfern’s gentle Buckle’s steady drums are softened by somehow manages to sound as if the de- guitar opens the piece, but quickly gives way MacDonald’s cross-cutting fiddle runs, cades had never passed. Everything that to the edgy accordion melodies of Ben Brennan MacDonald’s ringing acoustic gui- made those first two albums so moving and Murray, whose work evokes the Penguin tar, and lovely vocal harmonies. memorable is here in full force. The per- Café Orchestra. Joss Clapp’s bass and Rob Fans of Cape Breton Celtic sounds need cussively melodic guitar accompaniments, Armstrong’s cittern fill out the sound and not despair; there are several sharp sets of the nasal yet warm and commanding voice, allow Emma Hancock’s fiddle to slice across jigs and reels, albeit stamped with their the exquisite selection of songs. “The Bold the mix and take it to melodic heights. own identity. The “De Jigs” set, for in- Princess Royal,” “Arthur McBride,” “Jack Hancock is a true marvel. She’s classically stance, sometimes feels more like the Barleycorn” and other traditional songs are trained and it shows. Her command of her mountains than the moors. It, like the reels given fresh new treatments. Four other instrument’s upper register would be impres- in the “Snappy Jack” set, features guest choice ballads are reprised from his debut sive in any context, but from one so young piano rolls from Hilda Chiasson-Cormier, release, emphasizing the continuity of his it’s simply astounding. By the time Redfern and give the pieces more bounce than lilt. musical path, while the Rosselson connec- puts down the guitar and adds percussion and A great thwacking bass-dominated drink- tion from All Things In Common is furthered Murray switches to penny whistle, the piece ing song, “Lift Up Your Glasses” is a live with two more of his compositions. I’ve al- hops to as well as glides. Where Tarras most party song in which only the musicians are ways thought Foster’s version of the tradi- departs from tradition is in its original songs. in control. Like the album’s opening track, tional “When A Man’s In Love” was one of “So Tired” has the unhurried, bluesy feel of “Island Kitchen,” it’s a reminder that in the best and most sensual on record, and an old Crosby, Stills, and Nash song. By con- places where live music thrives, genres and this new rendition only serves to reconfirm trast, “Whisky Town” could be a pop song if expectations take a back seat to celebra- that. “The Ranter,” one of his signature its backing instrumentation weren’t so su- tion and community. — RWeir songs, a delicious tune wedded to a humor- perior to Top 40 fare. Tarras takes it name ous tale of a lecherous preacher, “The Coast from a glen in the Cheviot Hills separating Of Peru” and the awesome ballad “The Scotland and England. But if they keep mak- OLD BLIND DOGS Flower Of Serving Men” are all sung with ing albums like this, fans will associate them The World’s Room as much or more feeling and finesse as they with the peaks, not the valley. — RWeir Green Linnet 1201 were the first time around. And once again Foster excels at his interpretive skills in the ld Blind Dogs enjoy a small, but loyal Leon Rosselson songbag. He manages to get following in North America, but have even more out both the story and the tune Obeen one of Scotland’s favorite celidh of “Barney’s Epic Homer” (about a misfit bands for over a decade. Only fiddler artist’s conflicts with conformity) than the Jonny [sic] Hardie and cittern/bass artist author’s original – no mean feat! “Flying Buzzby McMillan remain from the origi- High, Flying Free” (see page 122) is a little nal lineup, but Old Blind Dogs remains known Rosselson gem, a gentle song of time faithful to the sound that built its fan base. passages full of longing and hope, gor- OBD was one of the first Scottish bands to geously performed. KILT make heavy use of African and Caribbean It is a pure delight to have Chris Foster Four In The Crib percussion, and North American audiences back again. — AN Kilt Music Group 50798 may remember Davy Cattanach bopping all over the stage. His place has been taken ith a name like Kilt and a pedigree by teen phenom Paul Jennings and OBD TARRAS rooted in the Celtic music mecca of literally hasn’t skipped a beat. In addition, Rising CapeW Breton Island, the uninitiated would the band has expanded to a quintet with Rounder 7029 expect wall-to-wall jigs, reels, skirling bag- the addition of small-pipe wizard Rory pipes, and some industrial strength Campbell, who works particularly well y the late ’80s and early ’90s it seemed rowdiness. You get a few of the first two, with Hardie. Hardie is one of the more lyri- Celtic bands might become an endan- but there’s not a pipe to be heard, and Kilt cal Scottish fiddlers, and the sweeter small geredB species, as one mainstay after another is more a gentle breeze than a force-ten pipes gives an edge to OBD’s music with- dissolved. Thankfully, the late ’90s brought storm. Kilt is grounded in Cape Breton’s out overpowering Hardie. Campbell also a renaissance in the form of exciting new folk/country traditions – think J. P. Cormier blends well with the harmonica departures lineups like Solas, Lúnasa, Nomos, Old Blind or John Allan Cameron – and offers a fine of Jim Malcolm. Their collaboration turns Dogs, and Kìla. To this list add Tarras, whose mix of energetic vocals and lilting instru- “Soup Of The Day” into a Scottish blues debut album Rising is aptly titled. The quin- mentation that compares favorably to a band composition. tet hails from both sides of the Scottish/En- like Acoustic Junction. For example, Old Blind Dogs are best known for their glish borders region, has an average age of “Dylan’s Ghost” features Tony Ronalds’ spirited let’s-party fare, but this album has 21, and spotlights a fiddler who’s only 17. throaty, gravely vocals and Bonny Jean lighter touches. Hardie’s melancholy Youthful exuberance abounds, but this MacDonald’s bluegrass-like fiddles in fiddle combines with Campbell’s whistles album’s instrumental prowess is as polished lively combo. But after building to an a and Malcolm’s guitar on the medieval-like as that of seasoned vets. Equally surprising capella chorus, Kilt cutaway to a quiet cover air “Roslin Castle.” The lads are equally is the band’s command of the traditional of Jay Ungar’s “Ashokan Farewell.” One subdued on the muckle ballad “Mill o’ idiom. Of the album’s thirteen tracks, only of the nice things about this young band is Tifty.” This, like most of Malcolm’s vo- three are from the public domain, though all its ability to be simultaneously gritty and cals, will remind many listeners of Ged

Winter 2000 • Vol. 44 #2 • Sing Out! 139 Foley. Only “The Branlee” contains the Papa,” a reprise from her previous all-blues KRISTINA OLSEN strong dance tempos for which OBD is album (recorded in 1962), is absolutely gor- The Truth Of A Woman famed, and even those are grounded in the geous and the version of Percy Mayfield’s Take A Break 2008 16th century! Whether this album is a one- “Please Send Me Someone To Love,” fea- time departure or – like The Tannahill turing a duet vocal with the good doctor, his release explores a number of truths Weavers a decade ago – signals new di- will send shivers up and down your spine. related to being a woman. They range rections remains to be seen, but The Blues Everywhere I Go is an essential Tfrom aching passions to poetic description World’s Room can stand on its own legs recording. — MR of the soul to the erotic and combinations no matter where it ultimately fits in the thereof. These are a woman’s songs, but OBD catalogue. they are meant to be heard and felt by both One criticism: this is not a clean record- FRED NEIL women and men. Men can certainly learn ing; several passages are as muddy as any- The Many Sides Of Fred Neil something from Olsen’s insights, and there thing I’ve heard since the days of vinyl. It’s Collector’s Choice 070 are a few that will enlighten women as well. not bad enough to sabotage this worthy The opening “Spend The Whole Night project, but I’m surprised the engineer his two-disc set collects all three al- With You” comes straight from the gut, or didn’t correct this. So don’t touch those di- bums Fred Neil recorded for Capitol: somewhere slightly below. The title song als, the problem is not in your set. — RWeir Tthe seminal Fred Neil which includes his “The Truth Of A Woman,” which follows, two best known songs “Everybody’s provides some qualification. It’s an in- Talkin’” and “The Dolphins,” the loose, of- tensely sexual song, as it reminds the lis- ten scary, Sessions and the mostly live Other tener “It isn’t how her heart beats. It’s the Side Of This Life, which remains Neil’s fi- way it pulls her skin.” The song easily nal album. Eight bonus cuts are included, sends shivers down the spine (and else- too. The rarities include both sides of an where). “The Yellow Piper” is a master- overly popish 1963 single and six apparent piece that alone justifies buying this CD. outtakes from the Sessions sessions. In less than six minutes it traces the life of For years I’ve postulated that in the a woman from a young girl who traded her Sessions master tapes there should be some body for flying lessons, became an unwed ODETTA treasures. While Richie Unterberger’s mother, suffered from small town scandal, Blues Everywhere I Go notes confirm the existence of unreleased found a man who accepted her and her M.C. 0038 tapes, he adds that the bulk is overly loose child as well as fathered another one. All performances that probably were a lot more the time the woman still reaches for the detta, certainly one of the most influ- fun to tape than to listen back to. John sky and finally proves herself. I’ll leave ential of all African-American folk Sebastian and David Crosby also contrib- the denouement for Olsen’s telling, but this Osingers, has at 68, and in her fiftieth year ute appreciations and memoirs about Fred. is a brilliant, well-crafted song. “Between as a performer, made one of the best al- In the end, we’re left with the legacy of This Woman And This Man” poetically X- bums of her long and distinguished career, Fred Neil’s all too few recordings, all of rays a relationship. Her well-crafted simi- and also one of the best albums of classic which remain essential, soul-piercing les, metaphors and images portray a stark blues ever. Throughout these 15 songs, work. Fred’s incredibly deep voice could reality. Olsen closes the recording with Odetta, in glorious voice and her interpre- make the earth rumble, and his 12-string “Big O” a tongue-in-cheek send-up of sex, tive abilities – which have always been guitar style was quite innovative at the clean enough to play on a family radio pro- substantial – has never been better. time, integrating jazz rhythms into his gram, thanks to clever use of language. Through most of the album, Odetta is blues. His way with a song was indelibly A particular pleasure is the simple pro- backed by small groups featuring pianist personal. I still get goose bumps every time duction of the release. Olsen recorded it Seth Farber and guitarist Jimmy Vivino. I hear his voice enter following the string live while on a tour of Australia and New On medleys that combine Sippie Wallace’s bass solo that opens his killer version of Zealand, and her voice and guitar work “Trouble Everywhere” with Brownie Percy Mayfield’s “Please Send Me Some- have never sounded better. Another at- McGhee’s “I’ve Been Living With The body To Love.” tribute is Peter Grayling, her superb ac- Blues,” and Lead Belly’s version of “Care- The unavailability of Fred Neil’s mu- companist, mostly on cello, but also less Love” with W.C. Handy’s classic “St. sic on CD has bordered on criminal as it mandocello, mandolin and occasional har- Louis Blues,” Odetta’s voice is both pow- has kept him shrouded in obscurity even mony vocals. In the end, Olsen’s latest is erful and flexible and she gives her musi- while he still lives quietly in Coconut all truth and no consequences. — RWarr cians a lot of room to improvise creatively. Grove, Florida. While such CD reissues As Odetta demonstrates, there’s much have made Tim Buckley and Nick Drake more to the blues than bitter complaints of cult heroes, Fred Neil is almost forgotten. THE WESTERLEYS lost love as she revives such topical blues This Collector’s Choice release of the A Blessing And A Curse commentaries as “W.P.A. Blues,” “Unem- Capitol recordings should help change that. 1-800-Prime-CD 67 ployment Blues” and “Homeless Blues” in (His other work, two albums for Elektra, fabulous arrangements. And in numbers are available but only as pricey Japanese ased in Mill Valley, California, the like “You Gotta Know How,” Odetta imports.) Westerleys would seem to be one of proves she can deliver sexually suggestive The music, the singing, the songs on Bthose bands that are difficult to pigeonhole, numbers as well as anyone. this collection are bedrock. It sure would with a mixture that features roughly equal As good as everything else on this al- be a kick if this release could goose Fred parts of folk, pop, blues and country-rock bum is, the two best cuts feature Odetta in into cutting a new album after a nearly 30 demonstrated over the course of the eleven the lone company of pianist Dr. John. “Oh year gap. — MT tracks that make up A Blessing And A

140 Sing Out! • Vol. 44 #2 • Winter 2000 Curse. Led by guitarist and vocalist Doug E. Blumer and lead vocalist Nancy Terzian, the band also includes David Phillips on pedal steel guitar, Doug Brandon Adams on fiddle, Rob McCloskey on bass and Adam Berkowitz on drums, and whatever Mary Lou Philbin & Charlie Clarke mode they’re in, the result is a tight, driv- 118 Beck Road • Loudon, NH • 03301-1119 Tel: (603)783-4383 • Fax: (603)783-9660 ing sound that maintains a good level of E-mail: [email protected] • www.ossianusa.com energy and intensity throughout. It’s prob- Irish Music Magazine subscriptions, sales & renewals It’s a guitar of ably a little closer to pop/rock than to what Mail-order, in-house retail shop, festival sales of most people would call “folk” music, but the best in Traditional Irish & Scottish Music: LOVE between it is well done. Blumer and Terzian make SHASKEEN, Eamonn Cotter, Tommy People’s Quiet Glen, a good vocal combination, but the real L.E. McCullough’s St. Patrick was a Cajun, my brothers and Frank Harte, Calico, strength here is Terzian’s voice, powerful Seamus Creagh, Matt Cranitch, Kevin Griffin, Terry Bingham, Jimmy Crowley, sisters ... yet capable of delicacy when needed. With Joe Burke, Pat Cloonan, McNamara Family strong hints of more famous singers like Linda Ronstadt and Mary Chapin Carpen- ter, Nancy Terzian is probably one of the better singers you’ve never heard of. Most of the songs on A Blessing And A Curse were written or co-written by Blumer and Terzian as well, and even though nine of the eleven cuts are love songs in one form or another, they manage to keep the level of interest up without turning to all the usual cliches. Possibly the standout cut in this regard is the album’s closer, Terzian’s “Powder Blue Polyester Nightgown,” with slightly surreal lyrics on which she deliv- ers an aching, country- tinged vocal over an arrangement that is decidedly not in the Nashville mold. The one track on the al- bum which is not an original composition is their cover of Gillian Welch’s “Tear My Stillhouse Down,” and this is done nicely as well. Other standouts include “Devil’s Got Your Name,” “Graduation Day” and “Dying On The Vine,” but the quality is pretty consistent from front to back. A good disc to take a chance on. — JL

CATIE CURTIS A Crash Course In Roses Rykodisc 10478

atie Curtis’ writing manages mature women’s topics without losing a Cyouthful touch. That mix allows Catie’s unique voice plenty of room. She is one of those singers that can work a pleasing slide of a fifth or even an octave with an ease that doesn’t jar. Amid the drum and guitar centered tracks it is a pleasure to detect the banjo ... and though the harmonies contributed by Jennifer Kimball and Mary Chapin Car- penter are nice, it is the mandolin work by Jimmy Ryan that is especially fitting to Catie’s voice. The songs mostly focus on uncondi- tional or unexpected love, on the sheer plea- sure of accepting that love and even the in- ability to adequately be thankful for it.

Winter 2000 • Vol. 44 #2 • Sing Out! 141 On “What’s The Matter,” Catie expects Mallett is one of those songwriters that pleasantly riveted by one of her lines de- acceptance of difference. She paints a town always has something worthwhile to say, livered by her unmistakable vocals. On that shows approval unless your “differ- and always says it in a poetic way. He comes “Babe”, written for one of her children, ence” is unacceptable – revealing sample up with marvelous line after marvelous line. Hamilton sings, “I’m the one who mends scapegoats such as Blacks, Jews, gays or Unlike many songwriters, his personal the broken pieces cutting myself on jagged bikers. She innocently asks, “What’s The songs stretch to a universality ... and though bits of pain”. Here, rather emotionally, is Matter?” She then modulates a step, in- he has practiced his trade for about 30 years, a portrayal of a parent’s natural tendency creases the volume and asks again, Mallett’s songs and performance remains to protect, pitted against the natural need “What’s The Matter?” This emphasis fresh and compelling. — RWarr and inevitability of the child leaving. makes her disbelief obvious, and with this Her writing includes covering themes of approach of the innocent question, she wasted time, faith, ecology, the old, the makes answering difficult. A clever trap. abused, and mothering. The issue of the death The title cut, “Roses” is about the isola- penalty is addressed in the haunting “I’ll tion and confusion of war. Other topics in- Hold On,” inspired by Canadian Stanley clude talking a friend out of suicide and cel- Faulder’s agonizing death row wait and ul- ebration of recovery. “Wise To The Ways” timate execution in Texas. On “Summer addresses the overuse and abuse of our sym- Songs,” we are placed by an evening camp- pathies. With constant media shock and fire with traditional and familiar favorites gore, “First in color, now in stereo” we are slipping in and out of the tune. It is easy to growing numb. Unlike this media practice, NIGHT SUN picture this band enjoying music in this way. it is not like Catie Curtis to be in your face. One Moment Of Grace You get great writing, musicianship and She gently brings you to her points with Borealis 121 variety from this versatile band. One Mo- tunes that grow on you with each listen ... a ment Of Grace is a fun package that breaks sign that this is a lasting work. — AP hough their musical genre may be hard through the constraints of labeling. Celtic, to pin down, one thing is clear: these Klezmer, Polish, Middle Eastern? Contem- Tare talented musicians, equally at home en- porary folk? Give up trying to label this DAVID MALLETT tertaining at a bar mitzvah, playnig a Celtic band and just fall in with the music. Ambition air, or winning a songwriting competition. Though radio stations may have trouble Flying Fish 674 Lead vocalist Ellen Hamilton is delight- placing it into a single musical category, ful. With a slight quiver in her voice, she copies in two sections would not be a avid Mallett serves up eleven very re- connects with the soul, rather than aiming wasted use of space. — AP cent compositions on his latest. for a contrived polished sound. The title D(They’re all copyright 1999, although he cut opens the release richly with many of notes one was started in 1981.) It seems a the band’s instrumental talents on display. STAN ROGERS strange title for an artist who has never Their sound is best defined by the inter- From Coffee House To Concert Hall been alienatingly ambitious ... until you weaving of the clarinet and accordion, Fogarty’s Cove 12 listen to the title song and hear Mallett’s played by Chris Coleman and Bonnie painful ambivalence about ambition. If Dawson respectively. Multi-instrumentalist tan Rogers was already the preeminent there’s a personal lament on this CD, this Coleman also adds mandolin, banjo, tin singer-songwriter of his generation is it. whistle, Irish flute and guitar work. Adam whenS his life was tragically ended, at only Mallett co-produced Ambition with Hodge’s bass and Les Casson’s percussion 33, in a 1983 airplane fire. His body of Rich Adler, and it sounds like they wrap around each tune never stepping on work remains profoundly influential in achieved exactly what Mallett desired. It’s the thoughtful lyrics, attributed to Bonnie contemporary folk-rooted music. as comfortable as an old shoe, but this shoe Dawson and Hamilton. For years, it’s been known that his has spikes that grab. The production is On Dawson’s tune “Didn’t I Try,” Night widow, Ariel Rogers, and producer, Paul deliciously varied, the ten supporting mu- Sun highlights the group’s solid a capella Mills, have been at work assembling and sicians never crowding Mallett’s first rate sound. And another of Dawson’s tunes, restoring a collection of previously lyrics or eclipsing his expressive voice. “Parrish Waltz,” can hold its own against unreleased Rogers recordings. Finally re- (Though, I would have preferred less per- “Ashoken Farewell.” It’s a delightful instru- leased in late-1999, the 70-minute collec- cussion.) Mallett returned to Nashville to mental that bears repeated listening. tion includes 15 of Stan’s originals, four record this one, but he avoided corrupting Drawing on her experiences living ex- versions of songs from other contemporary it with an overtly Nashville sound. tensively in the Arctic, Hamilton repro- writers, and one traditional sea chantey. His songwriting remains consistently duces, on one cut, the sound of the Drawn from diverse sources including high caliber, reflecting on times gone by, narwhales by using the bellows of the ac- work tapes, CBC broadcast recordings, al- in songs such as “Wild In The Sixties,” cordion. Against this, guest Jane Siberry bum outtakes and coffeehouse, club and “You Can’t Go Home Again,” and lays distant harmonies and Chris Coleman concert performances, they cover a 10 year “Sportin’ Days.” Most of the songs savor adds some tasteful classical guitar. We are period ranging from a CBC recording ses- the past, there are more goings than placed by the waves listening, “was that sion in 1973 to a Los Angeles concert re- comings. “Greenin’ Up” is a worthy sequel you breathing?” This tune will be a wel- corded just five days before his death. to his famous “Garden Song.” It perks, comed addition to the growing pool of folk Almost by definition, the collection is breaking the melancholy of his memories. songs addressing environmental concerns. uneven. Technically, because the source “Whiskey Talkin’” makes a powerful state- Ellen Hamilton has won songwriting material varies from home cassette record- ment about alcoholism, kind of “I Am A competitions in Ontario. Between the ings to songs done in state-of-the art re- Rock” as long as I have whiskey. danceable and the slow airs you can be cording studios, and artistically as the de-

142 Sing Out! • Vol. 44 #2 • Winter 2000 cade it documents was one of tremendous it became part of his concert repertoire in The duo recorded this self-produced growth for the artist. Also, missing by defi- the last year or so of his life. CD live, singing to each other, which adds nition, is the conceptual, and often the- Stan would have been 50 years old now. to the intimacy and immediacy. But their matic, vision that Rogers brought to the Without doubt, there have been too many voices sound thin and compressed, reduc- albums that he put together in his lifetime. songs left unwritten and unsung by his ing the warmth and glow. The poor record- However, the quality of the sound restora- death. This collection adds much to his ing quality, which sounds almost out-of- tion is exceptionally good and even Stan’s legacy. — MR phase in places, is worst on the tracks with earliest material was finely crafted, reveal- overdubs. When both guitars and har- ing the immense potential of his artistry. monica are playing full tilt, the instruments Also importantly, the collection provides ANNE HILLS AND MICHAEL SMITH dwarf the voices. Hills, in particular, pos- a decade-long overview of his develop- Paradise Lost & Found sesses a much fuller, richer voice than is ment from a promising young singer- Redwing 5406 evident here. songwriter into the major artist he became. There’s little new material on this CD, Speaking as a friend who knew Rogers ombining the talents of one of the con- Smith and Hills have recorded most of the for almost all of the years represented by temporary folk genre’s best song- songs solo, or with others. Yet, they do pro- these recordings, it is thrilling and some- Cwriters with the superb voice of an out- vide fresh interpretations of every song so what eerie to hear these performances of standing singer in the genre results in a bit the material does not seem rehashed. sometimes-forgotten and sometimes never- over 54 minutes of music pleasing to brain Smith’s remarkable “Painted Horse” is new heard songs like “Pharisee,” which cap- and ear. Michael Smith authored (or co- to my ears, along with the haunting coau- tures the spirit of community that drew authored) six of the 13 songs on Paradise thored title song “Paradise Lost & Found.” many of us to the folk music scene in the Lost & Found, Anne Hills penned two, and That’s probably the most melancholy song 1960s and early-’70s or “The Puddler’s they collaborated on a pair, and for good on this otherwise generally ebullient re- Tale,” based on his own father’s years of measure they include a song each by Steve cording. working in the Hamilton, Ontario steel Goodman (written with Smith), Mike Jor- Hills and Smith share an obvious ex- mills. Stan’s version of Mary McCaslin’s dan, and Lennon and McCartney. You’ll citement for playing together, and this up- “Down The Road,” brings back the very search a long time for a single disc with beat treatment works wonderfully on songs personal memory of Stan telling me he better songs. Smith understands the es- such as “Stranded In The Moonlight” and wanted to meet Mary, another friend of sence of poetry and coaxes words to do his “Disappearing Heart.” They also capture mine, at a folk festival we were all going bidding, evoking broad and subtle mean- the soul of Smith’s classic, “The Dutch- to be at. There was a song of Mary’s that ings from each word. Hills is also a solid man,” in a movingly tender rendition. At Stan said he wanted to learn. And, indeed, songwriter. other times they sound detached from the

p h o t o g r a p h y f o r p u b l i c i t y R o b e r t C o r w i n / P h o t o - A r t s C D s Robert Corwin brilliantly captures Folk, Blues, Cajun, Bluegrass, Jazz, w e b p a g e s Rock, and other roots musicians in classic and historic imagery...Perhaps t o u r b o o k s best known as the most gifted documentarian of the spirit, personality e x h i b i t i o n and ethos of the folk music scene and the performers who give it its & f i n e a r t vitality...he manages to portray essence in gesture, in the “decisive p r i n t s moments”, in the description of color and space (or its deliberate absence) so that the layers of history, joy, love, passion and concern are revealed. Please do spend some time to familiarize yourself with his work. It will be a rewarding experience.

Peter Yarrow ---Peter, Paul & Mary e x p e r i e n c e d f o l k p h o t o g r a p h y

a t p r i c e s f o l k i e s c a n a f f o r d

. . . o n t h e w e b a t r o b e r t c o r w i n . c o m

7 4 1 H e n d r e n S t r e e t P h i l a d e l p h i a , P A 1 9 1 2 8 p h o n e ( 2 1 5 ) 4 8 2 - 6 5 0 2 f a x ( 2 1 5 ) 5 0 8 - 9 0 6 8 e - m a i l P h o t o R C @ a o l . c o m

Winter 2000 • Vol. 44 #2 • Sing Out! 143 song, as if they are more concerned with range of Cockburn’s expertise, but like GORDON LIGHTFOOT the arrangement than the meaning, as with Mozart, the simplicity and clarity of the Songbook Hills’ “Silken Dreams,” and Smith’s “We execution does. Here, Cockburn lays down Rhino 75082 Become Birds.” Hills recording of “Silken the mood similar to a dozen other love Dreams” with Cindy Mangsen and Priscilla songs he’s penned. Lucinda Williams is ordon Lightfoot was the dominant Ca- Herdman is far better, as is Smith’s own featured in the chorus. nadian singer-songwriter of the 1960s solo recording of “We Become Birds.” Sensual images in the lyrically simple Gfolk revival and has continued his record- They conclude the recording with a charm- “Mango” provide a vehicle for the first of ing and concert career through to the ing version of “I Will” by John Lennon and many musical jams featuring the slippery present. This immaculate 4-CD boxed set, Paul McCartney. — RWarr fretless bass of George Koller, the exotic with 88 songs dating from 1962 to 1998, is kora of Daniel Janke, the fluid beat of Ben an exhaustive examination of his long ca- Riley on drums and Rick Lazar on percus- reer and includes a couple of rare country- sion. Cowboy Junky Margo Timmons re- pop songs that the young Lightfoot recorded inforces the melody. in Nashville in 1962, 14 previously The two strictly instrumental numbers, unreleased tracks recorded over the de- “Down To The Delta” and “Deep Lake,” cades, and many of the most significant though very different in tempo and texture, songs from each of the albums he’s recorded are more showpieces for Cockburn’s mas- over the years. There is also a hard- cov- tery of guitar and arrangement. ered, 60-page booklet that provides good The album packaging leans toward the biographical information and Lightfoot’s BRUCE COCKBURN artistic side and less on the practical, ap- own commentaries on each track. And the Breakfast In New Orleans, pearing much like a difficult to read digital remastering is excellent, these songs Dinner In Timbuktu scrabble board. Missing from the lyric have never sounded better. Ryko 10407 sheet is Cockburn’s practice of inscribing I’ve always felt that Lightfoot was at each tune with the date and city of compo- his creative best from the mid-1960s he opening track of Cockburn’s latest sition, which is sometimes helpful to un- through the mid-’70s, the years docu- release (his 25th in 29 years), “When derstand the inspiration of the piece. mented on the first two CDs and well into TYou Give It Away,” starts with a plaintiff Cockburn has been to just about every the third. Songs like “Early Morning narrative that sets the scene for the rest of political hot spot on this planet over the Rain,” “Canadian Railroad Trilogy,” and the album. The surrealism of his predawn last 20 years, living his credence “Use me “Sit Down Young Stranger” remind me dream mixes with the very real sights and while you can.” Efforts have included work that Lightfoot was one of the best contem- sounds of an early morning in New Orleans with OxFam, fighting land mines, cleanup porary folk artists of that era. Most of the – “the city of saints and fools.” of oil spills, maintaining rain forests, and material from those years that’s included This musical journey through space and most recently the raising of awareness of on these discs holds up very well. time crosses several continents and spans desertification by narrating a documentary However, since the late-’70s, Lightfoot the entire epoch of human existence (from on location in Mali. Never afraid to grapple has been less consistent. While he’s never “The Last Day Of The World” to “The with politics or “of being subversive,” less than competent, and often very good, Embers Of Eden” – though one cannot be Cockburn moans about judicial corruption much of his later work does not measure up certain here which is the beginning or the and “traitors in high places” in the jazzy to the earlier songs, making the fourth CD end). rap, “Open Up The Window, Let The Bad pale in comparison to the first. But this is an Cockburn’s writing is constantly aware Air Out.” excellent collection for anyone wanting a of the dichotomies of reality – good and The message of “Last Night Of The strong, historical overview of an important evil, rich and poor, beginnings and end- World” recognizes that everyone will and influential singer-songwriter. — MR ings, strong and weak, as he reminds us eventually” be pried loose” from our that we must find our own place. His stand earthly burdens in the end and that the only has always been to work for good or you thing he’d do different that night would be DAVE CARTER AND TRACY GRAMMER are essentially working against it. His place to have “champagne with you.” Having When I Go in this album’s journey says “I’ve got this been so involved in humane relief efforts, Carter and Grammer (no cat. #) thing in my heart I must give it away, it this would be all he’d have left to do. only lives when you give it away.” Many fans align in political solidarity t’s been a long time since I’ve been so It is unmistakable from the kora intro- with his activism, but his following doesn’t taken by a release of all original songs. duction and the mosaic of photos accom- stop there. Few musicians can boast TheI formula is simple; just incredibly hard panying the lyrics (not to mention the lyr- Cockburn’s large and long-lived internet to achieve: Take ten well crafted songs. ics themselves), that the tune “Use Me If following. There are those inspired by his Keep the vocal delivery clear and unas- You Can” is set in the sweltering desert of lyrics, those appreciating his masterful suming. Add just the right amount of mu- Africa. The spoken introduction, full of ease with a guitar, those listening through sical arrangement to highlight the lyrics stark details of strangely colored animals the religious sieve. and bring out the inventive melodies, and and jagged boulders (a Cockburn favorite) With 13 gold and 3 platinum records to then put them together in a way that sur- is sharply contrasted by the ethereal ce- his name, Bruce Cockburn needs no nod prises the listener at almost every turn. lestial images of the sun as a steel ball and of U.S. approval. Where there is human This is what Dave Carter and Tracey the moon as a pearl in black fingers. Clas- drama, he is there reacting and helping the Grammer accomplish on When I Go. sic Cockburn! cause musically. The release of Breakfast In addition to vocals, Carter plays gui- The laid back guitar in “Isn’t That What In New Orleans, Dinner In Timbuktu is just tar, banjo and bass. He is joined by Friends Are For?” doesn’t display the full a stop along the way. — AP Grammer on violin, mandolin and vocal

144 Sing Out! • Vol. 44 #2 • Winter 2000 with help from Eric Park on harmonica and Marchin’ Anymore.” Marshall Crenshaw DAVID BROMBERG accordion. With the exception of the title serves up the obligatory Bob Dylan song My Own House / cut, a co-write with Grammer, Carter in “My Back Pages,” with the arrangement You Should See The Rest Of The Band writes the songs. The result is deceptively the Byrds rode to a monster hit. Ron Fantasy 24752 simple. The entire CD was recorded in Sexsmith’s take on Tim Hardin’s “Reason Tracy’s kitchen ... except for the one re- To Believe” is especially eerie as Ron’s Fantasy two-fer reissue. My favorite corded in Donny’s garage. Intrigued? Well gentle voice takes on an uncanny resem- David Bromberg album has always you should be. blance to the late songwriter. beenA his intimate, all acoustic and mostly The themes here run the gamut from an- The packaging is gorgeous, and An- solo My Own House from 1978. This inti- cient mythology to modern icons. The feel thony DeCurtis’ notes are excellent. My mate and eclectic set ranges from the gor- of the recording is contemporary and tra- only gripe is that this wonderful valentine geous “Sheebag And Sheemore” to “To ditional all at the same time. Some high- of an album is over much too soon, even Know Her Is To Love Her” to Rev. Gary lights include the opening title cut, which with a 54 minute length. May we hope for Davis’ “Black And Tan.” “Spanish Johnny,” grabbed me immediately, “Grand Prairie a Volume 2? — MT Paul Siebel’s recasting of a Willa Cather TX Homesick Blues,” an obvious homage poem into song, has always felt magical to to an obvious influence, Bob Dylan, and me. The set shows just how rich music can “Lancelot,” an infectious melody with a CHUCK SUCHY be when stripped to the barest bones. stunning chorus. Different Line Of Time By contrast, You Should See The Rest When I Go came out of nowhere and Little Bluestem 102 Of The Band from 1979 captures the ’70s took me by complete surprise. It’s a record vintage Bromberg Band at its most raucous I will continue to play and it makes me an- ost farmers sit around the café when and wildest. Peter Ecklund’s cornet and ticipate the next one from this talented duo, their farming’s finished for the sea- trumpet always stood out for me both in which I’m told will be out soon. — MW Mson. North Dakota farmer Chuck Suchy their live shows and on record. The record spends his free time writing and singing. is even better than I remembered it being. Like the admonition to “write what you The set list here, too, is highly eclectic and know” all of Suchy’s songs connect with full of surprises. Great fun. Its Gahan Wil- the earth and the simple joys of life. You son drawn cover is shown, too, and as a might expect a farmer to be flat-out coun- huge Wilson fan I am delighted. try and sing at the roadhouse on Saturday David Bromberg in the ’70s was as fine nights. Suchy is as folky and gentle as an entertainer as there was in the land. That you’ll find anywhere. he was also a master musician who cut his This is Suchy’s third recording in the teeth accompanying Jerry Jeff Walker in past 15 years, and it’s his best. Exquisitely Walker’s breakthrough years and learned VARIOUS produced by Peter Ostroushko, Suchy’s reams just by paying attention added im- Bleecker Street: voice sounds a little like Bill Staines, a measurably to his work. This is another Greenwich Village In The ’60s tender, full voice that’s a pleasure to the fantabulous reissue from fantasy and its Astor Place 4012 ear. Similarly, his songs are so gosh darn seemingly bottomless vaults. A must for honest ... poetic without affectation. Suchy anyone who was there at Bromberg shows he concept of this album is to salute writes great lyrics and tunes that you hum in the ’70s and subsequent band reunion the brilliant songwriting that exploded after the CD stops spinning. tours, and for anyone who wasn’t and Tout of the exciting Greenwich Village folk The opening “Molly’s Field” invites you wants to know what it was like. Coupling scene of the ’60s. The album contains 16 into the recording, something like the aural My Own House with YSSTROTB gives a songs from 1964-71 performed by artists equivalent of Wyeth’s “Christina’s remarkably full portrait of the breadth and who grew up with these songs in their lives. Meadow.” “Dancin’ In The Kitchen” and depth of David Bromberg’s world. — MT It opens with “Bleecker Street” as sung “The Way You’re Looking” are lively love by Jonatha Brooke. (Here it is credited to songs that start your toes tapping and your Jerry Landis. However, on the original face grinning. “Before The Class Reunion” DARRYL PURPOSE Simon & Garfunkel 1964 recording it is stands out as far more than a “where are they Traveler’s Code listed as “Bleeker Street,” and is credited now” romp in nostalgia. Suchy captures us Tangible 56815 to Paul Simon.) It is a vivid and evocative as we were, and as we are. You’ll feel like portrait of the street, and Jonatha sings it you went to school with him, and a tear will his release is aptly named as many of beautifully. form as he sings of people with whom you the songs included revolve around the Throughout, Stewart Lerman and suddenly feel a kinship. The closer, “Simply Tinability of a man to stay put. But the Steuart Smith’s production, the casting of Fly,” invokes a play on words, as Suchy re- themes vary from presenting the vagabond singers to songs, and the performances, are peats: “Simplify, simplify. Spread you wings. unable to commit (“For The Story”) to the inspired. Just a few of the very best are Simply fly.” He gently twists those words ultimate settled, dream husband suggested Chrissie Hynde on Tim Buckley’s aching into a mantra in the song. (“There’s A Ring On My Hand”). “Morning Glory,” the one time only duo You may never have heard of Chuck The opener is a wonderful example of the of Loudon Wainwright III and Iris DeMent Suchy, but your life will be better when romantic man. Mr. Schwinn has a gift for on Richard Farina’s “Pack Up Your Sor- you hear him. He doesn’t plan to market fixing a bike. He is keeping a pair that he rows,” Patty Larkin’s take on Fred Neil’s this CD commercially, so go the extra mile continuously shines and cares for until he “Everybody’s Talkin’” and the spirited ar- and order it directly from his farm. Con- can do the same with a mate of his own. He rangement Larry Kirwan and Black 47 sidering commodity prices, he can prob- says, “One of these bikes is more than a twin, have whipped up for Phil Ochs’ “I Ain’t ably use your support. — RWarr as he pumped up the tires and polished the

Winter 2000 • Vol. 44 #2 • Sing Out! 145 rim, I’m saving it for my Mrs. Schwinn.” DEIRDRE FLINT tell the true ones from the lies. His songs When death greets him before he finds a wife, The Shuffleboard Queens run a wide gamut. “Jean Arthur” is an easy the bikes, “perfectly matched like a groom Fadia 1001 shuffling paean to the delightful film star and a bride,” are given away. (We can al- of yore. “May The Best Man Win” would most hear the group sigh.) eirdre Flint took the Northeast Re- be perfect for George Jones while In “Child Of Hearts,” as the surprised gional Folk Alliance Showcase by “Sleepin’ On The Job Of Love” sounds like father is confronted by his own four-year- Dstorm this year. She was a unanimous a classic Buck Owens hit that never was. old and declares “a little girl was never in choice of the judges, who rarely agreed on “Roots Rock Weirdoes” is a menacing my plans, you see, I make my way with a anything initially. And then Deirdre rocker with rockabilly underpinning. “Par- serenade.” Though a fragile subject, the wowed the audience. Deirdre Flint is a allel Bars” is in a classic country boy/girl delivery is not. Ellis Paul adds harmony to funny lady. duet with the sultry Kelly Willis. the chorus. Sporting lines such as “I’m not What Deirdre has going for her is a “Hamilton County Breakdown” is a pure, the kind to have and hold” leads me to be- sprightly voice and a set of very funny hot, lightning fast bluegrass instrumental. lieve that musical accompaniment, so remi- songs. Her sense of humor is suitable for The dangerous side of Fulks surfaces on niscent of Springstein’s “Born to Run,” is family listening, and she pokes fun at life the hilarious “White Man’s Bourbon” and intentional. as it is lived. Moreover, the songs are so “That Bangle Girl,” his tribute to popster In the very next tune, in utter and com- loaded with words that multiple listenings Susannah Hoffs. The final track, a hidden plete opposition of musical mood and lyri- are required, which is no problem because one, is a bizarre, minor-keyed loungey take cal sentiment, we hear a romantic duet with the songs are strong enough to be worth on John Denver’s “Leavin’ On A Jet Plane” Lucy Kaplansky. Here, Purpose convinc- listening to repeatedly. that just oozes insincerity. ingly and lovingly expresses his adoration The 13 cuts are all humorous, and are Robbie Fulks is one of the most auda- for “the loveliest person that I’ve ever all worth hearing. However, as Christine cious writers out there, a master known” as he wakes on “the first day of Lavin’s career demonstrates, it takes a mix songwriting technician in diverse styles. living” with a ring on his hand. This beau- of straight and funny songs to hold an au- The performances are solid, sturdy and tiful duet had arrangement help from Dave dience for a couple of hours at a time. It super confident. All joking aside, this al- Carter and Tracy Grammer. This song is will be interesting to see if Deirdre can bum really does contain a lot of Robbie’s destined to make the rounds in many a develop a balanced repertoire. very best. — MT wedding, and deservingly so. In the meantime, enjoy what Deirdre The title cut, “Traveler’s Code,” ends has to offer – funny songs well delivered. the release with young children’s voices Recommended. — VKH TROUT FISHING IN AMERICA on the final chorus. Even before then, Closer To The Truth though, the melody is a sticker. In fact, Trout 14 many of Purpose’s melodies have quiet little hooks of beauty. The rising “Follow eah! Another Trout Fishing in the light, when the woods become thick, America release. What other duo follow the light, when your eyes show you doesY a better job of allowing an adult the tricks ...” will hang in your hum bank along freedom to be childish? A song like “But I with the “this ring surrounds our doubt” Do” on this new release goes beyond bridge in “Ring On My Hand.” merely allowing, it almost shames you into “Smoke And Mirrors,” shows Purpose behaving childish. And why not? They is not only lyrically impressive, but enter- ROBBIE FULKS sound like they are having so much fun. taining as composer and performer of the The Very Best Of Robbie Fulks With “After You’ve Gone” they allow instrumental. Bloodshot 059 themselves adult temper tantrums. Who The “Last Great Kiss Of The 20th Cen- hasn’t wanted to throw their socks all over, tury” cleverly takes advantage of the mil- obbie Fulks has a hard earned rep as avoid mowing the lawn or behave gener- lennium. Since within the song itself they a wickedly irreverent, occasionally ally irresponsibly? When the lover in this debate over when the millennium actually Rscabrous writer and singer of country song leaves, she takes her perfectness and begins, it is a tune that can be aired next songs. The Chicago native is probably best potpourri to boot. We don’t need any such year. This song blends both the turn of the known for his “love song” to the Nashville motivation to experience, through song, the century with the turn of the vagabond into music community inspired by his treatment possibilities of such freedom. the true lover. Early in the song, the former there, “F*** This Town.” But there is a When they are not directly addressing tells the woman “I don’t often know what whole lot more to Robbie Fulks than that children’s habits of “making faces in the I’m doing next month.” A year later he has deliciously poisoned pen note would have mirror” or “acting like a fool” they are the his arm ‘round her shoulder. Together they you think. He really is very much a think- tired adults taking breaks from coping with are pushing their infant in a carriage to the ing man’s songwriter. this behavior. Sometimes it is difficult to place where they were “part of some fire- His new Very Best Of Robbie Fulks al- tell the adult behavior from the child’s as works” the year before. bum, like Robbie himself, is not what it many behaviors are universal, like the need Looking at Darryl’s photo on the CD, I seems. This is no career retrospective. It for someone to make everything all right imagine that the “Child Of Hearts” line does collate some excellent odds and ends and the need for dreaming. from a four-year old about a daddy “big from disparate sources, and there is some There is nothing childish, however, and scary” could be about him, yet his fine new stuff here, too. Be very skeptical about their clever lyrics or the perfect blend- more poetic and romantic pieces on the CD of the sources Fulks cites in his song by ing of sound that results from partners so outweigh this image and suggest more of song notes. Most of these are very convinc- comfortably aware of each other’s abilities. a large teddy bear. — AP ing lies. So convincing it is real hard to When finely crafted adult talents are com-

146 Sing Out! • Vol. 44 #2 • Winter 2000 bined with childish appeal they can’t help on to a fruitful career in Nashville as a whole family could be had for “two-fifty but be a hit. They are the Rocky and writer of hit songs with both strong melody for the carload.” (Show of hands here – Bullwinkle of folk music, pleasing on vari- and lyrics. Those gifts were evident form who hasn’t ever hid in the trunk to sneak ous intellectual and humorous levels. So, the very start, which was right here. in?) With this tune and nine more original go ahead, there’s no need to pretend you Getting the attention and aegis of the songs (there are two additional listed have children ... pick up a copy. — AP successful producer Glyn Johns provided songs, one each from the catalogs of Doc the entry to get the albums made. Waylon Watson and Carl Perkins), Henry demon- Jennings, Jessie Colter and Ozark Moun- strates not only an adept talent for writing tain Daredevils John Dillon and Steve Cash songs that tell good stories, but also the were recruited to sing the leads of White ability to present them in a number of Mansions, a story set in the American Civil evocative settings. “Eddie And Pearl,” for War. Rodena Preston’s Voices of Deliver- example, is a blues- rocker about a young ance sang the role of the slaves. Dillon, pair of Bonnie-and-Clyde-type misfits that Cash, Jennings, Bernie Leadon, Henry highlights Henry’s ability to turn a neat Spinetti and Dave Markee were the lyric – she had looks to kill for/ And Eddie project’s core band with an Eric Clapton had a gun.” “Last Call” is a country- fla- TOM RUSH cameo on one track. The London Sym- vored ballad with a keen-eyed view for The Very Best Of Tom Rush: phony Orchestra was also employed. what goes on inside the doors of a Texas No Regrets Kennerley’s next salvo was The Leg- honky-tonk joint that, on the outside, looks Columbia/Legacy 65860 end Of Jesse James. Johns again acted as pretty much like any other. “Restless” (the champion by circulating rough tapes of the Perkins tune) is a high-energy salute to his is the very first Tom Rush retro- songs. The tape that got to guitarist Albert rockabilly, and “1967” takes the “talking spective that reviews his entire career. Lee knocked him out and he in turn played blues” style and lays it over an acid rock T“San Francisco Bay Blues” dates from his it for Emmylou Harris, who fell in love instrumental backing – sort of a “Woody very first recording, the very rare ’62 vin- with Kennerley’s songs. (A bit later she Guthrie meets Jefferson Airplane” ap- tage Live At The Unicorn, recorded at that fell in love with Kennerley himself, and proach. Whatever the subject or treatment, legendary Boston club of yore. “Mobile- from 1983 to ’93 they were married.) each cut seems to fit in with the “Wayback” Texas Line” is from his Prestige period. Emmylou brought in Rodney Crowell, theme, not only in the story being told, but “Panama Limited,” “On The Road Again,” Rosanne Cash and Johnny Cash to sing the arrangements are something of a time “Galveston Flood” and “Joshua Gone Bar- roles, and Levon Helm, Jody Payne, Albert capsule themselves. And, as Henry shows bados” from Tom’s first two Elektra al- Lee, Donivan and Martin Cowart, Charlie on the three instrumental tracks (one is an bums together beg the question of why Daniels and Kennerley each sung parts, unlisted “bonus” track at the end), he’s an these excellent albums have never been too. This time the band included Lee, excellent guitarist as well. Backing Henry reissued on CD. “Urge For Going” repre- Kennerley and Jesse Ed Davis on guitars, up is a cast that includes Kevin Barry (gui- sents the landmark Circle Game album. Tim Gorman on piano, Emory Gordy on tar), Bob Fishman (percussion), Richard There are 7 from Tom’s Columbia pe- bass, Helm on drums and Daniels on fiddle. Gates (bass) and Doug Plavin (drums) riod. One of these is the remake of Tom’s Both albums are still memorable ef- along with guest appearances by Annie and brilliant “No Regrets,” featuring a har- forts. Even at the start, Kennerley’s Jeannie Burns of the Burns Sisters Band. mony vocal by Carly Simon. I’d have pre- songwriting was informed and smartly ex- As a vocalist, Henry has a warm, slightly ferred the Circle Game original, but I am ecuted. The crack teams of singers and craggy baritone that he fits to his material certain that the licensing fee dictated the players insured that the material would be well, and as his own producer, he has put choice. “Kids These Days” is another ques- given its best showing. There is a bonus together an album that varies moods and tionable choice. It is cute to be sure, but cut, “A Train Robbery,” appended to Jesse tempos, never becoming cliched or unin- its joke wears thin, and better choices were James. Kennerley started the song back teresting. — JL available. “The Dreamer” and “Jamaica then, but only completed it recently at the Say You Will” are from Tom’s early ’80s urging of Marty Stuart. Nashville scribe self-published releases, and “The River Robert K. Oermann offers a fine essay JOHN MCCUTCHEON Song” is a new Rush composition recorded about the genesis of the two albums. A re- Storied Ground specially for this release. warding release. — MT Rounder 0467 Nice overview, but it does whet the palate for a more complete dose of Tom ith the release of his 24th recording Rush, one of the finest folk interpreters to JIM HENRY in about as many years, John have emerged from the ’60s. — MT The Wayback McCutcheonW is back with yet another re- Signature Sounds 1254 minder of what it means to be a well rounded troubadour. When pressed for the VARIOUS t will come as a surprise (and possibly a perfect example of a modern folk musician, White Mansions / Jesse James disappointment) to those of us who were it’s his name that comes to mind. If we ever Mercury 314-540 791 bornI before, say, 1960 or so, that Jim needed an ambassador of folk music to rep- Henry’s The Wayback has nothing what- resent this country in far off places, I’d call he two concept albums here were soever to do with Sherman and Peabody. John. His live performances are always originally released on A&M in 1978 As revealed in the disc’s opening track, fresh and exciting. His music and philoso- andT 1980. They were the first recorded “Drive-In Movie Picture Show,” it’s a fond phy is well grounded and consistent and work of the gifted British songwriter Paul remembrance of the bygone times when an he has got to be one of the most prolific Kennerley. Since then Kennerley has gone evening’s worth of entertainment for the artists recording music today.

Winter 2000 • Vol. 44 #2 • Sing Out! 147 In the studio he is known to push the From cut to cut, Fielding moves around an appropriately nasty Steve Earle duet envelope when it comes to instrumentation from guitar to banjo, mandolin and vocal, Earle’s “I’m Not Getting Any Bet- and arrangement, but whether you like the Autoharp with a collaborating musician or ter At Goodbye” and the Barry Mann/ more experimental stuff or not, you have two on each song. In addition to Laskin, Cynthia Weil ballad “I’m Gonna Be to admit that the playing is always solid they include fiddlers Zeke Mazurek and Strong” both of which sport fabulous Joy and the production is always top notch. Don Reed, guitarists Bill Garrett, Curly Lynn White vocals, and Roebuck Staples’ This comes from working with the same Boy Stubbs and Tony Quarrington, and “It’s Been A Change” which closes the set. core of musicians and producers record- Chris Whiteley on harmonica. — MR Emmylou Harris, who Buddy worked ing after recording. with in the great band Spyboy, joins Buddy On Storied Ground, McCutcheon mixes for the stark and lovely title song, another it up with songs that range from solo acous- JENNIE AVILA Buddy and Julie heartbreak that brought tic to full band sound. But what remains Child Of My Child real tears to my eyes. Joy Lynn also graces steady is his reverence for history and his Jennie Avila Music 99 the equally desolate “Sometimes I Cry.” ongoing fight for social justice. What also Lauderdale appears on his snappy co-write, remains steady is his ability to use stories or seven years Jennie Avila and Amy “Looking For A Heartache Like You,” and to both enlighten and entertain. The themes Torchia played as a duo in the Phila- the sweet/sad “I’m Too Used To Lovin’ go back as far as the Flint sit down strike delphiaF area. They were noted for there ex- You.” Julie’s distinctively appealing girl- of the 1930s and continue on to the day cellent harmonies and interesting song ish voice sparks her sassy “Somewhere the color barrier was broken in major choices. Then Amy left the partnership for Trouble Don’t Go,” the Millers’ gentle “In league baseball to the returning of the motherhood and moved to Vermont. Jennie Memory Of My Heart” and the closing Names Quilt and the threat to independent has now released her first solo album, no- Staples song. retail stores by mega chain stores. It’s all table for excellent harmonies and interest- Unquestionably there is a lot of heart- quintessential McCutcheon and may his ing song choices. break in the Millers’ songs, but do not con- creative juices continue to flow. — MW This is an album full of songs about clude that they are mopey people. In an love, heat lightning, fairies, and tofu. A interview on NPR’s Fresh Air Julie said frothy mix of basically light textured that the sadness of the songs is inspired by songs, almost all written by Jennie. The the repertoires of the Louvin and the album is for grownups, although many Stanley Brothers. would have an appeal to children. Killer harmonists and superb pickers The supporting cast is superb. Jay notwithstanding, Buddy carries the show. Ansill joins Jennie on most cuts, playing I have come to appreciate him as one of mandolins, violins, the octave violin, and the most expressive country singers any- the Celtic harp. Kevin MacConnell is on where. And he is an astonishing on guitar, upright bass. Jennie does her own backing banjo, mandolin and bass. And, even RICK FIELDING vocals. Sean McClintock co-produced the though he doesn’t do it here he is a fine This One’s The Dreamer album with Jennie. drummer, too. His musical ideas will stop Borealis 119 Overall, this is an appealing album, es- you cold in your tracks. The Byron House/ pecially to old Jenamy fans. It looks like John Gardner and Alison Prestwood/Bryan n medicine, there are specialists and Jenny will be able to pretty much continue Owings rhythm sections by turns rate there are general practitioners. And the old sound by herself. — VKH steady and subtle. Tammy Rogers adds whileI the specialist will have highly honed striking fiddle and mandolin on six tracks skills in a respective area of expertise, a while Al Perkins’ steel guitar is on three. good GP will generally be more versatile. BUDDY MILLER The trick Buddy Miler keeps pulling off And so it is in folk-oriented music, with Cruel Moon is just adding enough to make a song work specialists zeroing in on styles or genres HighTone 8111 on record. He has a canny sense of place- like blues, ballads, old-time or contempo- ment. Even more important, he instinc- rary songwriting, etc. while generalists are n a fairer world Buddy Miller would be tively knows what to leave out. Buddy comfortable and credible among a number, a major star. His albums, and those he never ever overloads a track. And he works or many, different styles. Rick Fielding is hasI produced for his wife Julie Miller, are with musical friends who appreciate and an accomplished folk music generalist all outstanding, startlingly clearheaded share his vision. Add yet another batch of playing a parking lot version of “Salty works. This new release is another triumph. super songs and you have all the ingredi- Dog” one moment, or a traditional ballad The sound is crisp, with notable clarity ents that make Cruel Moon the excellent like “The Wind And Rain” the next. and presence (another product of the Mill- album it is. — MT As a songwriter, both solo and in collabo- ers’ home-based Dogtown Studio). Buddy ration, Fielding’s original material varies has a terrific grasp on how to make great from songs like “Come To Lower Canada,” sounding, economical records. That crisp JAMES GORDON which sounds like an old historical ballad to sound and performance is a trademark of Pipe Street Dreams “Those Gin Mill Syncopaters,” a swinging everything Buddy Miller works on. Wind River 4008 tribute to early blues and jazz inspirations. Cruel Moon’s eleven selections include Other highlights include a lovely ver- four Buddy and Julie co-writes, two more ames Gordon works weekly as a hired sion of the Beatles’ “In My Life,” featur- collaborations with their close friend and pen for the CBC, has hosted his own ing Grit Laskin’s concertina, and Tom colleague Jim Lauderdale, and one Julie radioJ show, has recorded several children’s Paxton’s “Deep Fork,” done like an old wrote herself. The four covers include Paul folk operas and was a founding member mountain song. Kennerley’s “Love Match” which features of the trio Tamarack. This release reveals

148 Sing Out! • Vol. 44 #2 • Winter 2000 Gordon’s musical tastes when he is free of assignment, and it is amazing that after Coming next May: meeting all these musical demands, that there are any melodies left. There are some A Limited Edition beautiful ones here. 50th Anniversary Many of the songs here are gentle lulla- bies, mixed beautifully with lyrics that Sing Out!/ blend geographical visions with emotional needs. They call for the quiet calmness of Martin Guitar! nature after or during the continuous call of life’s necessities. Gordon is so against a direct reference to a self-centered emotional statement, that Contact your Martin he constantly compares his mood to Cana- Dealership, NOW. dian landscape. In “Too Canadian These Days,” he is “empty in the middle” and as “far away as Hudson Bay.” Perhaps resi- dents in a town in Alberta may feel offended by the flat or empty references, but it not meant as a statement on the people living there, only as a description for his mood. On his more political tune “Coke Oven Brook,” the realities of life again cloud desired outcomes. The families living around this town equate the factory smoke rising with the ability to buy dinner, and then the chorus shifts the sentiment. One generation realizes the price that the next will be paying and imagines revenge. This song does an excellent job pitting the very need for a livelihood against the need for life itself. A thoughtful approach to toxic waste not unlike Patty Larkin’s “Metal Drums” and Cosy Sheridan’s “Don’t Go In The Water.” Several songs carry different moods. “My Insomnia,” though short on lyrics, has a featured trumpet solo and probably did take all night to record since Gordon plays all of the more than 15 instruments on this track. He harmonizes with himself often on the recording, and begins many a tune with a beautiful piano introduction. Though he has several other solo al- bums to date, this one is released as he em- barks on a solo career, leaving Tamarack after two dozen years. It’s perhaps a mu- sical reflection of the course the artist’s own life is taking, and the tunes suggest that pipe dreams of a slower paced life are attainable if you take the time to refocus. In these beautiful melodies, you’ll reassess your own use of time. — AP

KENN KWEDER Indre Sessions Pandemonium 6941

weder has been a sort of guerilla trou- badour around Philadelphia for over 25K years. His performances both solo and with any of his on-going succession of oddly named but powerful bands are the

Winter 2000 • Vol. 44 #2 • Sing Out! 149 stuff of legend thereabouts as they range The truth is, in the Andy Warhol de- MARK WEIGLE erratically from amazing to awful. But partment Deborah Holland has already sa- The Truth Is throughout this sweep of time Kweder’s vored her allotted fifteen minutes of fame. Mark Weigle 656863-3066-21 songwriting has always been audacious, As the lead singer of Animal Logic, the often brilliant. trio formed by ex-Police drummer Stewart eigle is really good at placing Over the years he has made a number of Copeland and jazz bassist Stanley Clarke, bridges between the struggles of records. Indre Sessions, his latest, may well Holland made quite a splash. Animal Logic gaysW and “straights.” be his very finest. As always he has some recorded two super albums and brought In the current movie, The Talented Mr. of the area’s very best players, especially cutting-edge, eclectic music to major Ripley, Matt Damon plays a man who in his guitar corps of Jim Fogerty, Alan stages around the world. Holland even ap- would rather be a fake someone than the James and Kevin Karg. His songs aspire to peared on David Letterman, the Tonight real himself. Give a thought to the agony epic stature the way Bob Dylan’s Blonde Show, VH-1 and MTV. But the most re- of that need and Mark Weigle lays out this on Blonde songs did. Like some of those vealing sign of Holland’s inner soul was same struggle in “Do You Go.” This is the touchstones, “Diablo” and “Pandemonium evident on a little folk album she recorded daily life of a gay man living as he puts it And The Scene” make it hard to relate ex- in 1997 with Gadfly after Animal Logic “someone else’s lie” in a marriage. As his actly what is going on, but Kenn’s gift for disbanded, The Panic Is On: Songs From wife begins living his truth the ache is both memorable turns of phrase and strong The Great Depression. A rock singer in- transferred. As we contemplate her adjust- melodies make them work. His songs are terested in political songs from the 1930s? ments in the song, we get something of a something like the classic Chinese box What gives? feeling for all the past agony of the man puzzle in that as you unlock one riddle you First the rock singer versus folk singer whose only chance to free himself was to immediately are faced with another. thing. The boundaries have been somewhat disappoint someone else. In an alternate earth Kenn Kweder would blurred since Dylan plugged in at the New- Weigle sings with the emotion of a have become a breakout major artist. He has port Folk Festival in 1965 and all the rock Garth Brooks delivery. Beautifully mov- been poised for great things several times, stars started unplugging again in the last ing love lyrics flow with clarity and pas- but invariably he would find a way to screw few years on MTV. The Book Of Survival sion. He has some great lines and paints it up. Here he sounds like a man who has contains singer-songwriter material as great moments. In “I Confess,” the sister grown comfortable with himself at last, and well-penned, and well-portrayed as any- of a man he is watching catches his eye this has allowed him to relax enough to de- thing contemporary folk or rock perform- and says, “I know, I love him too.” liver some excellent work. — MT ers are now serving up. And in a retro way, Love is love, just as the grief and loss the songs are a lot less “me, me, me” and a have no gender. When his lover is dying of tad more “us, us, us” than the usual fare. AIDS in “If It Wasn’t Love,” he states Maybe that’s because Holland has already bluntly, “It was not sex, I wanted you as been “there, there, there” and has the much when you barely had a body left.” In luxury of exploring topics she feels pas- another song about loss, “One Less Dancer,” sionate about. I also like the fact that the he advises to take your partner tightly in your album has a professional feel to it, a host arms, as the tears swell, remembering the of great acoustic sounds, produced with a man who “never left early ’til he left us for light touch, lots of air and not overdone. good,” he watches the others on the dance The songs? If Holland’s contemporary floor. When asked if he’d like to dance, he DEBORAH HOLLAND “Faded Red Car” had been written about a says “I’m just watching,” and the chorus The Book Of Survival horse instead of an automobile – it would changes to “two less dancers.” Gadfly 257 be “Stewball.” Few of us muck out stables Not all the songs involve gay issues as nowadays, but we do have to muck out our the theme. “See You Say I Love You” is arning. This album contains “Hard personal and societal metaphoric stables – about signing your love for someone, evi- To Be A Human In The Universe,” one and that’s what Deborah Holland does so dently done in sign language when he per- ofW those songs with the elusive songwriter’s well. It is a danger to write topical songs forms live. “From Your Kid” is about hook that grabs onto your neurons and sets (remember those?). When taking on current reaching the age when we become aware up residency in your cerebrum for days after events it is easy to sound preachy or trite. of the sacrifices made by our parents. With hearing it. This is usually a sign that good Not here. “Kids With Guns” is not trite but this song he sings his appreciation of what words and the right melody have mated to right, current affairs sung with pace and he once criticized. He also has tunes about form the songwriter’s Nirvana – a tune you humanity. Even a song with a title “Pinochet traveling and about living far from the can’t get out of your head. But this one song And Margaret Thatcher” works and elicits town where you grew up. “Take Your is no fluke, and The Book Of Survival has so a smile, as does “Happy Birthday, You’re Shoulder From The Wheel” is a beautiful much more than just one catchy song. Turning 40.” These are titles that would sentiment and melody to match. The re- Deborah Holland has a lovely, thoughtful activate a “trite alert” warning if observed quest is accompanied by a need to feel the voice – pitch perfect and expressive – just on another album. They work here because strength and have a place to lean. It could right for these personal words. She sings with Holland possesses the heart and objectivity be anyone, any age, with this need. wit and a subtle sly twinkle in her eye. Like and talent to make even current events ache But most of his love songs leave no Christine Lavin’s songs, the songs seem to fit like a wry love song. It reminds me that doubt about his sexuality. Eight of thirteen the author like a glove. Unlike Lavin’s, there good songs and a knowing voice have more works on the album definitely do not court are songs that might be successful on a than the power to entertain; these elements ambiguity. Teenage confusion about sexu- broader range of set lists, sung by lots of folks. have the power to move a listener to a bet- ality, coping with hatred, coping with loss, In fact, it has been a long time since I so liked ter place. Isn’t that what contemporary folk intense passion and coming to terms with everything I heard on an album. used to do? — RDeitz a true inner self are central themes.

150 Sing Out! • Vol. 44 #2 • Winter 2000 In “Oz,” Weigle compares past lovers true masters of the craft. True to the form shows her sense of humor too. In “He with the famous threesome; men with great of his recent albums, Clark is recording his Keeps Calling Me Baby,” a rather forward chests but no heart, no brain, afraid of com- songs in spare acoustic settings that are teenager is asking a young girl something. mitment, you get it. He is looking to fly beautifully suited to his conversational In her confusion over what she heard, she like bluebirds to the end of the rainbow singing voice and great songs. naively answers that her brother plays with a man that comes “without a curtain.” There is not a song here that I don’t hockey and maybe he would like a puck. He often visits the theme of the freedom like. Some of my favorites, though, include This tune rocks with Wheatley’s strong to be and show who you are. “Water Under A Bridge,” a memory and vocals against innocent lines. Weigle’s strongest songs are the ones that fantasy growing out of a baptism that’s set Stephen Fearing, on acoustic guitar, is go beyond the single relationship and address to the tune of “Shady Grove,” “Cold Dog only one of the Canadian stalwarts adding the acceptance of gay culture into society. Soup,” in which Clark recalls a long-closed their talents here. Also on board is Colin Hopefully this album will play a part in the California music club frequented by char- Linden, David Woodhead and Wendell need for the fulfillment of that reality. acters like Tom Waits, Ramblin’ Jack Ferguson. When using her lower register, Weigle’s music is a way to help us place all Elliott, Townes Van Zandt and Rosalie Wheatley sounds similar to Mary Chapin love and loss in focus. We sure need more Sorrels, and “Red River,” in which Clark Carpenter, but she doesn’t stay with any help to accept love in all forms into the world sings about a Southwestern river and the particular vocal sound long. This variety in rather than analyze or judge it. Political state- people who have populated its banks. her vocals is one of her strengths. Here is a ments aside, Weigle is an excellent writer In addition to his nine originals, Clark singer who can handle pop, Broadway or a with an emotional delivery. — AP also offers great interpretations of three country sound equally convincingly. — AP other songs, including Steve Earle’s very beautiful “Fort Worth Blues,” written in MARK STUART tribute to the memory of Clark’s close Songs From A Corner Stage friend Townes Van Zandt. — MR Gearle 2802

ark Stuart first came to my attention KATHERINE WHEATLEY playing guitar for his wife, Stacey Habits And Heroes MEarle, both on Stacey’s record and out on Hoot 001 the road. He is a marvelously friendly chap and a terrific guitarist who can nail a good he first two tracks here throw teenage TOWNES VAN ZANDT number of styles. girls into the exciting and scary male A Far Cry From Dead As his album shows, Stuart is also a worldT that is suddenly paying a lot of at- Arista Austin, 07822-18888 very fine songwriter and singer. His best tention to them. They are both flattered and songs are character portraits and narrations annoyed by the demands. Typical teenage his new Townes Van Zandt release has that recall the South of William Faulkner concerns surface, about looking thin or a story behind its genesis. In the late and Tennessee Williams. “Old Money” needy and generally pretending to be who T’80s and early ’90s Townes recorded a tells of a doomed romance between a poor they are not. I can see playing these cuts batch of voice and guitar demos on DAT. boy and a rich girl whose daddy would not between reading passages from Reviving Eventually he gave the tapes to his wife allow it to blossom. “Girl From Louisian’” Ophelia. These songs foreshadow troubles Jeanene saying “Hang on to these, babe, I is an ode to a Southern belle livened by experienced by some of the woman whose think there’s some good stuff on here.” She Mark’s dandy Travis-style picking. “Small stories follow. promptly put them away and forgot about Photograph” is a slow blues about how a Wheatley has an ability to throw her them. Some time after Townes died on New traveler gets by. “It’s Not Me” begs for- voice up the scale in whispering tones. This Year’s Day 1997, the tapes resurfaced. giveness of a lover through a fresh ap- quality is especially effective on songs that When she was able to deal with listening proach of saying how he has mended his present these women justifying and coping. to them she told family friend Eric Paul ways. Last in the set and most impressive In some songs it as if she uses this tone to about them at Thanksgiving dinner. On fi- is “When Kathy Sings,” a murder ballad ask for help between the very words that as- nally listening to the DATs for the first of how a man’s unbalanced wife poisoned sure us that she doesn’t need it. That is not time both Jeanene and Eric were stunned. his father and the awful aftermath. the only voice Wheatley uses though. She Townes had rarely sounded better. The album has a nice homemade feel. alternates voices and songs of these coping After funds were in place for the project, Stuart is very likable as a picker, singer women with the comments on the patterns Eric assembled a superb team of musicians and guitarist. As a performer he is refresh- of society that place them in these situations. to flesh out the guitar/voice demos: Michael ingly low on irony, adding to the ripped Poor “Mrs. McIvor” is tormented by Spriggs on various acoustic guitars, Rich- from life feel of his songs. — MT children who take their lead by the examples ard Bennett on the electrics, Larry Knechtel of the judgmental neighborhood filled with on keys, Bob Wray on bass, Craig Kamph gossip and rumor. The chorus focuses on and Kenny Malone on drums, Russ Hicks GUY CLARK the game “Nikki Nikki Nine Doors” where on steel guitar, Charlie McCoy on har- Cold Dog Soup children ring bells and run away, as do the monica, Jim Calver on banjo and Susie Sugar Hill 1063 adults with their hit and run gossip. Monick on accordion. The occasional naughty phrase, like Thirteen songs appear on the album. ’ve been a big fan of Guy Clark’s Texas warning boys that their “wieners would fall Eleven are Townes classics and two are new songs ever since I heard his first LP back off,” or people yelling “get your hair cut songs. Eric and Jeanene were right about inI 1975. Clark was a great young song- you asshole” may make controversy for the tapes. Townes’ performances are won- writer then and has matured into one of the radio airplay, but show a tough side. She derful as he sounds focused and strong, his

Winter 2000 • Vol. 44 #2 • Sing Out! 151 work definitive. Though he had recorded the chooses, and his own songs sound like for- KARLA BONOFF eleven old songs included here, some sev- gotten Tubb compositions from 50 years All My Life eral times, they have never sounded better back. He is a gem. Columbia 65765 or more convincing or more touching. His band is superb, too. Johnny The new ones are “Squash,” which is a Wakefield’s steel guitar has that vintage arla Bonoff has a gorgeous voice and blackly humorous bit about roadkill, and sound and style. Guitarists Dave “Leroy” a set of songs in her 30- odd-years of “Sanitarium Blues.” Townes only recorded Biller, Sean Mincher, Paul Skelton and Jim writingK that rival any other singer- “Sanitarium” in spoken form humming his Shelton plus piano man T Jarrod Banta all songwriter on the stage today. All My Life proposed melody afterward as a guide. For shine. Ric Ramirez’s slap bass is the per- is a collection of 16 of her best. Leading the recording his words have been broken fect touch. Great chops abound! with “Someone To Lay Down Beside Me,” down to phrases and placed within the As I said Wayne “The Train” Hancock written at 23, and concluding with the ver- newly recorded backing tracks. It is a fright- is the real deal. His honky tonk music is as sion of “The Water Is Wide” borrowed ening piece in which a man still in control pure as it gets. For added fun, check out from the Weavers that she recorded 20 of his mental faculties is shipped off to the the multimedia extras on the disc. — MT years ago with James Taylor, this is indeed living hell of a sanitarium. There he feels a superb historical review. like the sanest one there among either pa- Karla learned guitar at 15 from Frank tients or staff. In time he is released as in- IRENE KELLY Hamilton of the Weavers. She was part of curable and put back into a world that Simple Path the original Bryndle band, members of couldn’t care less. It is one of Townes’ most Irk 1002 which later worked with Linda Ronstadt. bitter works, even among the darkness he They in turn introduced Karla to Linda, wrote about so vividly and so often. hat a sweet album. It’s a pleasure to who went on to record three of Karla’s best A Far Cry From Dead is a treasure and be able to assure a listener that ev- songs. Linda helped Karla get her record an heirloom, a gift from beyond from a eryW one of the songs on this release are contract with Columbia. She recorded four poet who looked far into the beyond and excellent. Irene Kelly is a tiny woman with LPs for Columbia in the ’70s and ’80s. In saw all too well. The love of the partici- a big voice who knows how to write a 1990, Karla wrote three more songs that pants radiates in the music. Even the pho- country hit. She has already been discov- were recorded by Linda Ronstadt, and tos chosen for the booklet are revealing. ered and covered by Trisha Yearwood, Bryndle came together again, releasing a The stark and wrinkled visages ravaged by Ricky Skaggs, and Loretta Lynn. Here you fine album in 1995. time and hard living shown on the front can hear her own renditions of 11 tunes Besides “Someone ...”, Karla’s magic is and back covers stand in starkest contrast co-written with Darryl Scott, Kim Richey, especially apparent in “Goodbye My to the two shots of a much younger Claire Lynch, Kim Patton-Johnston, Terry Friend,” “Isn’t It Always Love,” and “All Townes, with radiant, beaming smiles. The Smith, Billy Smith, Mark Irwin, Michael My Life.” Well-written and moderately pro- young and old Townes Van Zandts barely Joyce, Jeff Hughes, and Dave Gillon. She duced, these are songs that can be listened look like the same man, yet undeniably doesn’t focus entirely on the ache and de- to through a dozen repeats, drums and all. they are. The Townes we hear in this al- spair brought on by love’s pains, but when Karla Bonoff is pop with a folk back- bum sounds amazingly like that vibrant she does, she takes you there completely. ground. For those readers who like their folk young Texas bard in the snaps. “A Little Bluer Than That” sets us up with a pop leaning, this is a must buy. Gor- This really is a brilliant album, and it with all the examples of the saddest of mo- geous from start to finish. I love it. — VKH may well be Townes Van Zandt’s very ments that we have all experienced, and best. The good news is that Arista has an then once the listener has grabbed that option for a sequel. — MT emotional memory, Kelly goes even even HAL KETCHUM lower. The smooth, clear vocals have just Awaiting Redemption the right amount of Southern dialect and Curb 77948 WAYNE HANCOCK emotion to carry us to these depths with- Wild, Free & Reckless out being sappy. he latest from Ketchum, Awaiting Re- Ark21 186-801-043 “It Wasn’t Me” denies responsibility demption, was originally supposed to for patterns established with a former part- haveT appeared in 1998 under the much less ayne Hancock’s retro country mu- ner. The beat pulses with strokes of the apt title Hal Yes, but the label shelved it sic hearkens straight back to Ernest mandolin in a minor key, driving home the due to the darkness of the album’s songs. Tubb.W But Hancock is no young poseur, message “don’t let a ghost of yesterday, It is quite a departure for an artist who had he’s the real deal. This, his third album, is scare you away from me.” The mandolin an impressive run of country hits in the another spot on set of honky tonk music, along with violin, lead guitar and Dobro first half of the ’90s. made clear from the very first notes of the share breaks and supply fills. Save the finale “Lonely Old Me,” writ- opener, a terrific cover of Tubb’s “Kansas This production is a good example of ten with Marcus Hummon, Hal’s songs City Blues.” what Nashville’s musical talents can do here date from 1995-97, which was a tough Hancock storms through the 15-song when combined with producers unwilling time for Hal. He was very ill, and his mar- set calling out the names of his soloists as to sacrifice the core of the song. If you love riage fell apart, and the writing reflects he goes Bob Wills style. There are a dozen to sing along, it is guaranteed that these these two roadblocks. However, since then originals, and two rockabilly classics songs will have you doubling a harmony. he has recovered and has found a new wife, served up honkytonk style: Bill Mack’s Simple Path is a wealthy collection for and his life has been righted anew. “It’s Saturday Night” and a Blue Suede the giants of country to grab, but most will This is a strong, often compelling al- Shoes” that owes it all to Carl Perkins’ own be more than pleased with Irene Kelly her- bum. Stephen Bruton’s production is spare version of his classic. Hancock’s approach self, as writer and performer of her own and refreshingly glitz and sugar free. He fits comfortably with the covers he works. — AP has cast the songs in tart settings that re-

152 Sing Out! • Vol. 44 #2 • Winter 2000 flect their emotions, and Hal is singing track. Here joining Jon’s voice and guitar from Lucinda Williams (“I Just Want To from his heart and commands your atten- are Jerry Douglas on Dobro and Emmylou See You So Bad”), to Bob Dylan (“Fare tion. As Jimmie Dale Gilmore’s fine liner for a wonderful harmony part. Through- Thee Well”), to Jimmie Rodgers (“Peach essay notes, this is an album of “courage out, Jon’s songs have the ring of life and Picking Time In Georgia”), to Richard and dignity” that “respectfully acknow- truth. The lone cover is the Lowell George Fariña (“Pack Up Your Sorrows”), to Bill ledge[s] both our fragility and our limit- title song. Monroe (“Shenandoah Valley Break- lessness.” — MT Musicianship is stellar as performed by down”) – all done in an airy bluegrass style many of Nashville’s most empathetic art- that’s probably closer to Peter, Paul and ists. Other guest harmonists include Kim Mary than to Flatt and Scruggs ... but, as KATY MOFFATT Richey, John Cowan, Tim O’Brien, Sam Utah Phillips might say, “good, though ...” Loose Diamond Bush, Harry Stinson and Jon’s ex-wife Fred’s Mobile Homes is a quartet of HighTone 8109 Lorrie Morgan. Randall’s Willin’ may not veterans of the Philly folk scene – Peter be a groundbreaker, but it sure is a solid, Lorch (guitar), Beth Mead Sullivan aty Moffatt’s singing seems effort- sturdy, rewarding work. — MT (banjo), George Abramson (mandolin) and less, but at the same time there are Larry Cohen (bass). Of the four, Cohen is intenseK passion and control ... qualities that probably best known, having been a fre- are usually mutually exclusive. The pro- FRED’S MOBILE HOMES quent sideman for Tony Trischka. All four ducer this time out is Dave Alvin, a ter- Homes Sweet Homes contribute vocals on the album, but it’s rific singer, songwriter and guitarist in his Beth Mead, no cat # Lorch’s warm baritone that stands out most own right, and he has done a swell job of on songs like “I Just Want To See You So creating settings where Katy can relax and iven the current state of the “folk” Bad” and Larry Stone’s “Aces And shine. music landscape, a band with a moni- Eights.” If Loudon Wainwright had turned Loose Diamond is a diverse set. There Gker like Fred’s Mobile Homes might be out to be a bluegrass singer, he might have are great old country hits in “I Walk purveying anything from Delta blues to sounded a lot like Lorch. As mentioned Alone” and “Waitin’ For The Sun To contemporary singer-songwriter introspec- previously, this is not hard-edged blue- Shine,” which bookend the album. There tion, and even an inspection of the track grass, the vocals have much more of a are three strong new Moffatt originals co- list on Homes Sweet Homes might not be “folkie” feel to them, but Homes Sweet written with Rosie Flores, Jeff Rymes and all that enlightening as to what this Phila- Homes is more than competently done, all long-time compadre Tom Russell. “Whis- delphia-area band is about. The fourteen the way around. Sullivan, in particular, is key, Money & Time” comes from the pen cuts feature cover versions of an eclectic a surprisingly effective and tasteful banjo of Katy’s brother, Hugh. She does the tra- assortment of music by writers ranging player, with a talent for playing lines that ditional “The Cuckoo” as a duet with Alvin and covers Dave’s old Blasters rave-up “Goodbye Baby So Long,” transformed to a slow weeper. Jo Carol Pierce’s title song is, excuse the expression, an absolute gem. But the showstopper has to be Katy’s play- ful take on the Lieber & Stoller classic “Fools Fall In Love,” sparked by Dick Fegy’s sweet lead guitar and mandolin. Loose Diamond is a gentle yet compel- ling album of end to end excellence. It is played and sung exquisitely, and it keeps elbowing back onto my sound systems both at home and in the car. — MT

JON RANDALL Willin’ Eminent 25020

on Randall served his apprenticeship with Emmylou Harris’ bluegrass ori- entedJ Nash Ramblers band for several years before stepping out on his own with albums on RCA and then Asylum. They were nice albums that never connected with an audi- ence. Landing at the independent Eminent, he has recorded his best work yet. Jon’s songwriting just keeps getting stronger. “Can’t Find The Words” and “Baby Make The Sun Go Down” are fresh takes on familiar themes. “Can’t Cry Any- more” is the lone stripped down acoustic

Winter 2000 • Vol. 44 #2 • Sing Out! 153 attract attention without becoming distract- an annoying, overplayed and overamped LOS TIGRES DEL NORTE ing. On the whole, Fred’s Mobile Homes mess. A nice run through Nina Simone’s Herencia De Familia seems to have a pretty good feel for how to “Nobody’s Fault But Mine” is the closer. Fonovisa 80761 approach the material in their own way. The bluegrass-oriented material here Most of these tunes are pretty well-known, works well, the rockers less so. The Nash- os Tigres del Norte are one of the most yet each of the arrangements here is dis- ville Sessions is a mixed bag with highs enduringly popular bands in the tinctive, fresh, and interestingly done. Per- and lows ... but the highs are enough to be LUnited States. The San Jose, California- haps the best evidence of this is their treat- worth looking into. — MT based sextet are the biggest stars in norteño ments of a pair of songs that have become music; they have been packing large halls bluegrass standards in the ’90s – Louisa and stadiums for 25 years, and have sold Branscomb’s “Steel Rails” (one of Alison millions of records in the United States Krauss’s early hits) and Kate Long’s “Who alone. Which makes it kind of bizarre that Will Watch The Home Place” (an award most Anglos are more familiar with the winning record for Laurie Lewis). In both work of Flaco Jimenez, or even Steve Jor- cases, they don’t try to sound like anyone dan. Not to slight Jimenez and Jordan, but else but themselves. Homes Sweet Homes this is like having heard of Koerner, Ray is also well-produced, but in the interest of and Glover and never having heard of the full disclosure, it should be noted that the Rolling Stones. Mark Moss who produced the album is not DAVID AMRAM The Tigres’ latest album is not their the same person whose smiling face graces Southern Stories best (that would be 1997’s Jefe De Jefes), the pages of this magazine as the editor. All Chrome 4202 but it is a fine addition to their volumi- in all, a very pleasant listen. — JL nous catalogue. A double-CD set, it mixes avid Amram’s place in the music tried-and-true formulas with some quirky world – and, for that matter, in world innovations. The Tigres’ trademark sound LEFTOVER SALMON Dmusic – is absolutely unique. In any given is the modern corrido, or ballad. While in The Nashville Sessions week he might be found conducting a sym- other cultures the ballad is a historical ar- Hollywood 62142 phony orchestra one night, leading a quin- tifact, corridos remain one of the most tet in an upscale jazz club the next, and popular Mexican forms, with literally thou- eftover Salmon is one schizophrenic animating a folk festival on the weekend. sands of new ones released every year. The band. They perform here as both a Amram breaks down all the walls separat- Tigres started the modern corrido boom in Lpretty darn good bluegrass band with some ing styles of music, musicians and audi- the early 1970s with their cinematic bal- very potent friends and co-conspirators, ences from each other. In most of his re- lads of border drug shoot-outs, and such and as a full throttle rock band. At the top cent recordings, Amram has concentrated “narcocorridos” remain staples of their o the recording are two crackling good on his jazz and symphonic music, making repertoire, but they long ago expanded into songs. “Midnight Blues” features Del this release, his first album of contempo- songs of the Mexican migrant worker ex- McCoury’s vocals mixing with the band’s rary songs since the 1970s, especially wel- perience, and in the last few years have Drew Emmitt, with Ronnie McCoury’s come for those of us who have grooved on started singing openly about Mexican poli- mandolin on board, too. “Lovin’ In My Amram’s folk festival flights of musical tics as well. Herencia De Familia opens Baby’s Eyes” is a Taj Mahal song with Taj fantasy. with “La Liebre,” a song about poverty, singing lead and on National steel guitar. Amram was one of the original hipsters government corruption, and the national But the next one, the jazzy “Dance On and there’s much fun to be had listening to debt. It also includes a few narcocorridos, Your Head,” a Latin carnival song with jivey story-songs like “Alfred The Hog” and full of mayhem in the best badman ballad Béla Fleck on banjo and Reese Wynans on “Texas Mongoose” that are chock full of tradition, then ends up, unusually for the piano, feels relatively contrived. Waylon witty wordplay and infectious arrangements Tigres, with a medley of two old-time Jennings appears on the cover of his “Are featuring Amram’s various drums, flutes Mexican classics, “Alla En El Rancho You Sure Hank Done It That Way” with and piano, and such stellar sidemen as fid- Grande” and “La Valentina.” Sam Bush on fiddle, producer Randy dler Vassar Clements and harmonicat The album’s first single is “Lágrimas,” Scruggs on guitar and Sally Van Meter on Mickey Raphael. There are also pretty and a lachrymose ballad that is not their finest lap steel guitar, and the feel is electric. vivid travelogue songs like “Deep South work, but in general this is an excellent ex- Scruggs sticks around for the hot grass in- Evening Light,” memories of Amram’s ample of the band’s range and taste. The strumental “Five Alive,” and his daddy early southern experiences in “Passagrille, main departure here, aside from the nice a Earl shows up to add his patented banjo Florida 1936” and reflections of his human- capella opening of “Rancho Grande,” is that sound. Lucinda Williams sings a tough istic concerns in “For Our Family Farmers.” the Tigres sing two bilingual numbers, the version of her “Lines Around Your Eyes,” As can be assumed from the album title, fairly forgettable “My Promise/Mi which is spiced by Jo-El Sonnier’s Cajun most of the songs are rooted in southern Promesa” and the perky “spanglish” comic accordion. But from there on the latter part sounds and, as anyone who has experienced number “Vamos A Las Vegas.” Through- of the album veers back to some pretty Amram in concert would expect, he is for- out, the accordion keeps the rhythm pump- generic straight-ahead rock. While the ex- ever mixing and matching musical strains ing, often doubled by saxophone, and tended “Troubled Times,” with Bush back in quite wonderful ways. Cajun, bluegrass, Hernán Hernandez’s loping basslines are as on fiddle and Jerry Douglas’ Dobro, and jazz, blues and other styles all come to- distinctive as ever. The real trademark the Allman Brother-ish “Another Way To gether, sometimes in the same song. though, is the gritty, nasal, Sinaloan vocals, Turn” do have some cool textures, their Amram is a very special musician. On immediately recognizable to any fan of con- rocking take of John Hartford’s “Up On this disc he provides much to smile at, to temporary Mexican music. Chances are, if The Hill Where They Do The Boogie” is tap a toe to, and to learn. — MR you live in a large American city, that the

Winter 2000 • Vol. 44 #2 • Sing Out! 155 Tigres come through every couple of years will strike you, and yet the transitions be- before. The writings of Lucy Duran and oth- and draw several thousand people to their tween the moods are as effective as they are ers have helped explain the region and its show. It is about time that some non-Span- dramatic. This, then, is what may set Sezoni music, and Alex Haley’s Roots introduced ish-speakers joined the party. — EW apart from other choral albums, Bulgarian the hereditary bards known as griots to the or otherwise. Forty-five minutes of straight western mind. The appeal of Malian music up choir singing, I have to admit, wears on results, I believe, from its melodic cross- RIZWAN-MUAZZAM QAWWALI my ears. Here, the ensemble works the spaces roads of sub-Saharan Africa (particularly Sacrifice To Love between the vocal wall of sound to provide the coastal countries) with the desert sensi- RealWorld 47707 an interesting as well as accomplished work. bilities of North Africa. The kora, calabash, The flow of the seasonal theme lets each set and simple “desert blues” are particularly ometimes the sounds put forth under the the stage for the next. — RDor resonant with many American audiences. world music rubric really do require the Tama (“a Bambara word meaning ‘to rightS mood to be appreciated. Others seem walk’”) is the trio of Malian Tom Diakite (vo- more capable of changing mood. The cals, donzo n’goni [hunter’s harp], kora, sanza qawwali devotional song on Sacrifice To calegasse, percussion), percussionist Djanuno Love is clearly in the latter category. The Dabo and Londoner Sam Mills (guitar). These energetic attitude of Rizwan-Muazzam original compositions put a bit of distance be- Qawwali is a worthy tribute to the heritage tween the contemporary and the traditional. of Nusrat Fateh Ali Khan and his family’s Still, Diakite’s vocals and donzo n’goni/kora 500-year musical legacy. Qawwali (Arabic roll you into each track as if they were centu- for “utterance”) is Islamic devotional music ries old. Stating up front what these songs are of the mystic Sufis. The repertoire of sung TAJ MAHAL AND TOUMANI DIABATE not allows subtle infusions of keyboards, poetry uses rhythmic hand-clapping, percus- Kulanjan Hammond organ, oud, violin, distortion gui- sion, harmonium and a lead and choral re- Hannibal 1444 tar, flute and cello. The songs, “Nostalgie,” sponse incorporating repetition and virtuoso “Idjo (The Truth),” “Dambe (Merit),” are flourishes for the music’s ultimate transcen- aj Mahal has recorded many diverse about love and longing, friendship, Africa and dent purposes. Here’s the deal. If you don’t projects over the years, but this new each person’s place in the larger scheme of know qawwali music at all, you’re missing Tduet album with Toumani Diabate, master things. More generally tilted towards Mali’s out. For my money, qawwali is one of the of the kora, stands as one of the most un- southern influences, Nostalgie follows a wid- most exciting sounds on the planet. If this is usual as well as one of the most intense ening path forged by musicians from this in- new for you, skip this album and go to the and rewarding. The album starts with a land African nation. — RDor master’s catalog and check out Nusrat Fateh sunny reinterpretation of Taj’s own “Queen Ali Khan. If you’ve experienced Nusrat, then Bee,” and follows it with Toumani’s get yourself a copy of this release. Perhaps “Tunkaranke.” For the rest of the twelve- BASHIR ABDEL AL it’s the youth of some of the band members song set they continue to alternate Ameri- The Art Of The Arabian Flute (some still in their teens), or perhaps the in- can songs with African songs as they ex- Arc Music 1482 fluence of the global ’nineties, but these com- plore the African roots of American blues positions kick in with a furious rhythmic in- with the fascinating rhythms and sounds of DURSAN ACAR tensity that’ll show you why they were hits Diabate’s Kulanjan ensemble. These sounds Traditional & Contemporary Music Of at WOMAD/Reading (’98) and WOMAD/ include kona, kamalengoni, balafan and Kurdistan Redmond (’99). Sacrifice To Love is out- bolon as well as two vocalists and Taj on Arc Music 1529 standing. — RDor guitar and piano. This music is a heady, intoxicating he Arabic word nay (ney) refers to the brew that will keep ringing in your ears T “breathy” end-blown flute traditionally MARA! WITH MARTENITSA CHOIR long after the record has finished playing. made from a reed. Although originally Per- Sezoni It is very cool to hear well loved blues like sian, the nay is now played throughout the RealWorld 47573 “Catfish Blues” and “Take This Hammer” Middle East. It has a multi-octave range, with an entirely new slant. Strong recom- six finger-holes on its top side and one on id-winter’s gray sets the mood for mendation. — MT the bottom side, and comes in varying “Call From The South,” the opening lengths (32-81 cm). An ancient instrument, Mtrack here. The Mara! Ensemble offers the nay retains its place at the “art music” bouzouki, sax, recorder, clarinet and bass as TAMA end of the spectrum among the variations instrumental balance to the robust choral Nostalgie of Arabian flutes. In urban ensembles the voices of the 30 member Australia-based RealWorld 47738 nay is frequently the ideal solo instrument. Martenitsa Choir. Ah, but winter gives way, On The Art Of The Arabian Flute, Bashir and Sezoni portrays the other seasons with or anyone with even a cursory interest Abdel Al displays his prodigious skills on the “hot sun” (“Harvest All Summer”), in the music of Africa, the last decade the cane flute. He allows the melodies to run “heavy wheat” (“Hey Harvesters”), and mi- hasF seen Mali emerge from obscurity to the to their natural length and subtly provides grating birds getting ready to fly again to- forefront of the African musical landscape. texture with the keyboard accompaniment. ward the south (“Travelling Light”). Rich Timbuktu used to epitomize remoteness; This really is the best kind of nay recording. and distinctive, fluctuations between the big today, tours frequent the city and artists The Kurds have their own connections sounds of the choir and the sparse poetry of such as Ali Farke Toure, Salif Kieta and to ancient Persia. There’s a bit of nay on the bard make for a satisfying variety of song Oumou Sangare have made the country and Traditional & Contemporary Music Of and music. The mood of each composition its various styles more familiar than ever Kurdistan, but the emphasis is on other in-

156 Sing Out! • Vol. 44 #2 • Winter 2000 struments. Dursan Acar, a refugee now liv- VARIOUS, Folksongs & Sacred Music through all again. Other standout soloists ing in Australia, is featured on the baglama From Nepal, (Arc Music 1517). With include trumpeter Julio Padron and pianist (a long-necked lute). Other instruments such Folksongs & Sacred Music From Nepal, Gonzalo Rubalcaba, whose solos reach as the zurna and mey stand out, both being ethnomusicological field recordings cap- outer limits that return his instrument to its versions of what in western parlance are ture the Himalayan sensibilities of this roots as a percussion instrument. — PS called “oboes.” Either instrument can wake Hindu kingdom. As one would expect, the up a melody that would otherwise remain music reflects the agricultural basis of the PACO DE LUCIA, Luzia, (Blue Thumb lackluster by infusing it with a mood of “wild Nepalese economy and the spiritual con- 165). Guitarist Paco De Lucia here returns abandon.” The longing of the dispossessed text that can only arise from living in the to his flamenco roots after a long period play- comes through the music, and rightfully so. grand presence of those highest of the ing jazz, showing that his chops have not Kurdish music and culture is distinct from world’s great mountain peaks. Seasonal been eroded. Most tracks are solo gut-string that of the countries that today have their songs of harvest and the agricultural cycle guitar whose only accompaniment is the fast, borders running through Kurdistan, yet an- predominate, but sufficient examples of rhythmic handclapping called palmas. A few other all-too-frequent example that shows the temple recordings provide balance to the busier tunes use second guitar, voices, and staying power of culture despite temporal album. A variety of vocals and instruments tasteful percussion but the effect is the same, domination by other governments. — RDor – percussion (drum, bells, cymbals), flutes, a great gypsy guitarist with just a few friends and stringed – are captured on these 15 along for the ride. — PS recordings. — RDor VARIOUS ALE MÖLLER, The Horse And The Voices Of The South Seas ANA HOSSU and FRIENDS, Songs & Crane, (Northside 6038). The songs on this Arc Music 1532 Dances From Transylvania, (Arc Music album come from a play of the same name 1511). Ana Hossu, the popular and prolific that ran for two years in Stockholm, chroni- he Pacific Ocean covers about a third performer of Transylvanian folklore, is from cling the northward expansion of the Swed- of the earth’s surface. Its vastness in- the Maramures region of Romania, a place ish railroad system. Fleshed out with atmo- cludesT some 30 million people who speak “where traditional customs are alive, where spheric instrumentals, it makes for one of hundreds of dialects and languages. Voices music accompanies people through all their the year’s best Euro-folk albums. Möller Of The South Seas selects chants from the lives.” Songs And Dances From Tran- plays flute, octave-mandolin, hammered Marquesas Islands to present but one ex- sylvania offers twenty-five tracks of tradi- dulcimer, lute, harp, and percussion, but for ample of Oceania’s diverse musical varia- tional songs that emphasize dance – love all his skill at crafting resonant acoustic tex- tions. The Marquesas are a dozen volca- songs for dance, wedding songs for dance, tures, it is the singing that makes the big- nic islands located about 1,500 miles and party songs for dance (“My Mother gest impression. Vocalist Lena Willemark northeast of Tahiti. “Grand and wild, with Taught Me How To Dance”). — RDor combines Linda Ronstadt’s clarion upper ragged mountains and steep cliffs over the register with the barking enthusiasm of ocean,” these are not the stereotypical idyl- ENRIQUE MORENTE, Lorca, (Narada Varttina’s Kaasinen sisters and Frankie lic isles pictured in many mainland imagi- World Select 72438-47729). This is an idea Armstrong’s husky passion. The nations. Musically, the Marquesas reflect so good one is surprised it hasn’t been done instrumentals alone would make this a fine, the intersect of their location with the before – setting poems by the great Spanish but she makes it a great one. — PS wide-ranging exploration of the 15th poet Federico Garcia Lorca to flamenco through 19th centuries. Though the collec- music. But the celebrated singer Enrique WILLIAM PINT and FELICIA DALE, tion offers a sampling of mea kakiu (“an- Morente is not content with simple flamenco, Hartwell Horn, (Waterbug 0048). Will- cient things”) in its festival songs and but factors in hearty funk drumming, solid iam Pint and Felicia Dale return to the land songs of welcome, newer mea hou (“im- guitar from Pepe Habichuela and others, It’s and spiral back in history with their new- ported things”) strongly influence this col- a tour de force. Flamenco pop has been on est release. Most of the tunes and songs lection. Most obvious are the effects of the the doldrums lately, at least the variety come from England and the Celtic lands Roman Catholic Church in the Christian widely available on this side of the Atlantic. with delightful nods to the Copper Fam- themes of many of these songs. — RDor This album brings a needed spark to keep ily, the Watersons, Martin Carthy and even flamenco’s flame burning brightly. — PS William Shakespeare. Spirited vocals, hurdy Gurdy, whistles, and bodhrans com- SHORTCUTS TONY MARTINEZ & THE CUBAN bined with excellent taste for song make POWER, Maferefun, (Blue Jackel 5033). this one worth hearing. — MW DISSIDENTEN, Live In Europe, (Blue Hot Afro-Cuban jazz bands may have a hard Jackel 5034). Drummer Marlon Klein has time getting into this country to tour and GEORGE JONES, Live With The Possum, given this latest incarnation of his German record. But there are other countries. This (Asylum 62480). George Jones and his band jazz/world/fusion band Dissidenten a pro- smoking batch of instrumentals was re- the Jones Boys are in great form in this 12 nounced vocal bent, with long scat solos corded in Switzerland and is well worth song, 41 minute live set. After Alan Jackson from singers Izaline Calister, Manickam finding, especially for young drummers and does the intro he sticks around for the opener Yogeswaram, and Noujoum Ouazza over arrangers. Martinez’s solos on alto saxo- “No Show Jones.” The program is mostly hits simple, repetitive funk grooves. It’s pretty phone are wild and high, from Charlie and favorites. “Orange Blossom Special” bland, all in all. Even with two percussion- Parker out of Arthur Blythe, but it is his gives the band a chance to shine. Two draw- ists augmenting Klein’s trap-drums the arrangements that are the real star turns. The backs mar the album. First, the audience is grooves rarely catch fire, and instrumen- thirteen-minute “Gracias Chucho” moves even more hyper than those teens in A Hard tal solos (with the exception of guest art- from a drums-only rhumba to hot meren- Day’s Night, and they get to be pretty dis- ist Charlie mariano on alto sax) are equally gue to a vocal section that sounds like some- tracting. Second, there is virtually no anno- static and uninspiring. — PS one is slowing down the tape, then back tation. If Jones didn’t mention that he was in

Winter 2000 • Vol. 44 #2 • Sing Out! 157 Knoxville there would be no way of know- performs to this day, including his first re- cratic concept of songwriting. She men- ing. There is no listing of band members or cording of Jimmie Driftwood’s “Tennessee tions on stage, with a bit of pride, that she date of the show either. But the Possum is Stu,” “The Soldier’s Last Letter,” “Detour,” doesn’t have a lot of musical sophistica- super. — MT “Lovesick Blues” and “The Wreck Of The tion. It’s that not knowing any better, so Old ’97.” Great album. The live set recorded to speak, that allows her to explore unusual ROD MacDONALD, Into The Blue, at the fabled Philadelphia folk club captures melodic and rhythmic possibilities which (Gadfly 256). Love, marriage and the Jack at his best. It doesn’t get much better make her songs anything but run of the Florida weather seem to have brought a lot than it does on these two albums of the young mill. “Ray’s Cafe” tells about the endur- of contentment to Rod MacDonald. The and rakish and irreplaceable Ramblin’ Jack ing charm of a mom and pop. Rechelle songs on this disc are all engaging and a Elliott. A must have reissue. — MT calls it a remaining “taste of my childhood pleasure to listen to as MacDonald cel- days.” “Whatever Happened To Nancy ebrates a more laid-back lifestyle than the VARIOUS, Before Their Time: Memorial Drew” is charming. “Martin County” is a one he led on Greenwich Village’s Songs And Music Volume 1, (Before perceptive chronicle of emigres from MacDougal Street. Some songs, like “Into Their Time 01). This benefit album for the played out coal mines. Fiddler Pat Ireland, The Blue,” or “It’s A Tough Life,” could Hospice Vermont New Hampshire and the electric guitarist Robert Robeck, pianist be hits for the parrot-heads. The focussed NH Youth Suicide Prevention Association B.J. Brown, drummer Ian Byrne and bass- anger-at-injustice that motivated many of compiles 14 songs and instrumentals – ist Todd Wiseman are Rechelle’s key sup- his best songs in the past is more subtle here, mostly taken from previously released al- port troops in this modest yet very ingrati- but it does come through on songs like bums – meant to bring comfort in times of ating album. — MT “Deep Down In The Everglades,” about the loss and mourning. Indeed, the well-cho- Valujet crash and “Fear,” about living as a sen selections from artists including Tom JAIME MICHAELS, Jaime Michaels, citizen of a great military power seen as sa- Paxton, Anne Hills, Gordon Bok, Sweet (Frumdaheart 2). Michaels has been tanic by much of the world. — MR Honey In the Rock and Priscilla Herdman around since the ’60s, though his voice and do just that. Some of these songs deal with style reflect a far younger man. Now based PATTY LARKIN, à gogo, (Vanguard death from disease, others from war; all in Santa Fe, he spent a lot of time in the 79547). In effect Patty Larkin’s first re- are inherently comforting. — MR Boston folk scene. A former baker, car cording for Vanguard is a retrospective of wash technician, roofer and rock and roll her best songs recorded live in solo per- GREG TROOPER with the FLAT- lead singer, this is his return to acoustic formance over the last couple of years. IRONS, Everywhere, (Koch 8011). Greg music. There are a dozen very good songs Throughout the 14 song album she is in Trooper is from New Jersey, spent many on this album, dealing with drug addiction, peak, charismatic form. The editing cre- years in New York City, and now lives in lying (“god don’t listen if you’re lying ates a seamless and excellent live concert. Nashville. His music leans to the rock side when you’re praying, something every- The recording is vibrant and pulsing with of folk, although he has worked hard in the body knows”), and good and bad relation- life. If you have never experienced Patty country field. He is supported here by his ships. A little more variety would have Larkin’s very personal songs, her thrilling band (Abel Domingues, Kenneth Blevins been welcome. That said, the supporting singing and guitar playing, à gogo is the and Greg Shirley) as well as a small core of musicians are excellent, especially Sara K perfect place to start. If you are already a additional guests including Roseanne Cash on vocals, Mark Clark on percussion and fan, the album is a must have. — MT and Clare Mullally. This is a pleasant al- Michael Kott on cello. The strength of the bum. Fans of Trooper will enjoy it, particu- album is Jaime’s very listenable voice and RICK WHITELAW, Polishing The Stone, larly the inclusion of “Ireland,” which interesting songs. — VKH (Rick Whitelaw 1). Toronto-based Rick Maura O’Connell made popular. — VKH Whitelaw has long been one of those guitar- BOB HILLMAN, Playing God, (Sliced ists-of-choice used by a variety of other art- VARIOUS, The FolkScene Collection, Bread 72110). Gruff voiced Bob Hillman’s ists to make their music sound better. Finally, Volume Two, (Red House 137). For this self-published debut album has been on this instrumental CD, Whitelaw himself disc, Los Angeles folk radio legends picked up by Sliced Bread for wider re- steps into the spotlight. Over the course of a Howard and Roz Larmon have raided their lease. It has received a remastering dozen tunes, Whitelaw explores the necks FolkScene archives of live radio perfor- makeover and has gotten a spiffy, punchy of his nylon- and steel-stringed guitars cov- mances by some of the most prominent sound in the process. Bob’s songs run to- ering styles ranging from deft Travis-style folk, country and pop performers on the ward the ironic. None more so than fingerpicking and Watson-style flatpicking scene to create a second great compila- “Everyone’s An Actor In New York” (or and on to bouncy swing, quiet jazz and re- tion from their KPFK broadcasts. There in subsequent verses an artist or writer). flective musical meditations. Whitelaw’s are lots of gems among the 13 songs col- “When I Wrote The Book” is a knock at guitars – either solo or multi-tracked – pro- lected here, including great performances those writers who pump out all those un- vide the only sounds on the disc and no mat- by the likes of Nanci Griffith, Tom Waits, authorized, trashy celebrity biographies. ter the style, his playing is always a blend of Lucinda Williams, Eliza Gilkyson and “Playing God” is sung from the point of taste and virtuosity. — MR Tom Russell. One of the most haunting is view of a poor simp who is stuck on his certainly Stan Rogers’ “Song Of The own powerlessness. The opener “Little RAMBLIN’ JACK ELLIOTT, Country Candle,” recorded less than a week be- Things” is about a loner and his dream of Style/Live, (Fantasy 24754). This reissue fore his 1983 death. — MR past and better lives. The project is smartly two-fer contains a pair of certified classic executed, and producer Tommy West, a Jack Elliott albums from his Prestige years: RECHELLE MALIN, Famous Girl De- veteran pop songwriter, brings crispness Country Style and At The Second Fret, both tective, (Flying By The Seat Of My Pants, and focus to the songs’ settings. This is one recorded in the spring of ’62. The former is no cat. #). This self-released debut of very of those albums that makes me like it bet- all country songs Jack loved then and still personal compositions reflect an idiosyn- ter each time I play it. — MT

158 Sing Out! • Vol. 44 #2 • Winter 2000 LUKA BLOOM, Salty Heaven, (Shana- VARIOUS, Gaelic Voices, (Green Linnet set him apart from run-of-the mill box chie 5739). After three albums for Reprise, 1202). As a sequel to Celtic Voices, a col- players. — RWeir Luka Bloom – the stage name of Christy lection devoted to the brightest and best Moore’s youngest brother Barry – has Scottish and Irish singers, Green Linnet SCARLETT, WASHINGTON, WHITE- made a Shanachie release that’s actually now offers a similar collection of Gaelic LEY, We’ll Meet Again, (Borealis 120). more lush than his Reprise recordings. song. Michel Domhnaill and his sister At 80, Jackie Washington is a master of Both the opening track, “Blackberry Triona show up on tracks by The Bothy old swing and blues tunes and has been an Time,” and the finale, “Forgiveness,” are Band and Relativity. Other artists include inspiration to generations of Canadian superb. The first is a pop folk tune that Altan, Capercaillie, Kíla, and Niamh Par- musicians, including Mose Scarlett and grooves, while the latter is soaked in an- sons. The collection is limited to Green Ken Whiteley who have both been forces cient Irish traditions. In between there is a Linnet artists, which means Gaelic masters on the Toronto music scene for 30-plus nice tribute to Frankie Kennedy, “Cool like Arthur Cormack, Christine Primrose, years. Here, the three old friends team up Breeze.” There is also dross, like “Water and Eilidh Mackenzie are missing, but this for a lively live album of old vaudeville Ballerina,” which evokes some of Gordon is a fine introduction to the tongue-twist- songs, early jazz and blues tunes and a Lightfoot’s string-drenched excesses of the ing splendors of Gaelic song. — RWeir Whiteley original. Washington is still an early 70s, and some poetic interludes that amazing musician and singer whose voice come off as Bruce Cockburn Lite. The end GRAHAM AND EILEEN PRATT, Early and swinging guitar-playing always sug- product is good, but rocky, with songs that Birds, (Grail 2). After a twelve-year hia- gest the twinkle that’s probably in his eye aren’t always worthy of Bloom’s smooth, tus, the English duo Graham and Eileen as he plays songs like “Nobody” and “Your warm voice. — RWeir Pratt recorded Borders Of The Ocean in Feet’s Too Big.” Scarlett shines on raggy 1997 and resumed touring. Early Birds blues numbers like “Diddy Wah Diddy” VARIOUS, Northumberland Rant, samples recordings from rare vinyl offer- and I’m delighted to hear Whiteley’s rere- (Smith-sonian Folkways 40473). ings released in 1980 and 1985, and en- cording of “I Just Want To Be Horizon- Thanks to Kathryn Tickell, the world is capsulates what makes the Pratts special. tal,” a tongue-in-cheek sleeper he did al- rediscovering Northumbrian music. Ap- Eileen’s voice moves easily from soprano most three decades ago as a member of the propriately, one of her new studio re- to alto. She has the vibrato of early Joan Original Sloth Band. — MR cordings closes this superb collection of Baez and the tones of a young Gay Woods. studio and field recordings collected in Graham backs with superb harmonies and SONNY TERRY, Sonny Terry And His England’s northeast corner between 1954 the occasional lead that reminds one im- Mouth-Harp, (Riverside/Original Blues and 1998. Of the many talented perform- mediately of Tim Hart. He’s also a skilled Classics 589). Sonny Terry, the great tra- ers of yore, only The High Level Ranters songwriter, as demonstrated by tracks like ditional blues harmonica master and enjoyed much success outside the region, “The Black Fox” and “The Minstrel” that singer, was in good form for this 1953 ses- though Billy Pigg gained posthumous stand side-by-side with traditional mate- sion of mostly-familiar numbers like “The fame. Pigg was a master of the rial and never seems out of place. — RWeir Fox Chase,” “John Henry” and “Changed Northumbrian small pipes, a bellows- The Lock On My Door.” In the absence of blown pipe with a cylindrical bore that DAVE SWARBRICK, Rags, Reels & Airs, long time partner Brownie McGhee, produces a sweeter, reedier sound than (Topic 517). Before Dave Swarbrick joined Terry’s sole support is guitarist Alec the Irish uilleann pipes. Other masters of Fairport Convention he had already made Seward whose able but subtle playing al- this splendid instrument included on this his mark on the traditional music scene. Few lows all of the attention to focus on Terry’s album include Chris Ormston, Jack were as indelible as his 1967 Rags, Reels & harp and vocals. The most touching song Armstrong, Anthony Robb, Colin Ross, Airs, on which he wowed critics with his is “Goodbye Leadbelly,” an emotional and Pauline Cato. Fiddle, accordion, and fiddle and mandolin prowess. This farewell to the great folk and blues singer ensemble pieces round out this wondrous collector’s item has long been out of print who was a close friend of Terry’s. — MR collection. — RWeir but is now available on CD. Even back then all the elements of Swarbrick’s magic were PINK ANDERSON, Vol. 2: Medicine PAUL BRADY, Nobody Knows: The Best in place: his trademark gypsy-style fiddling, Show Man, (Prestige 587). Pink Anderson Of Paul Brady, (Ryko 10491). Among Irish his ability to move between old-time Ap- spent much of the first half of the 20th cen- pop stars, perhaps only Van Morrison palachian music to an ancient Irish air and tury entertaining crowds at traveling medi- comes close to Paul Brady in the ability to cover all the bases in between, and the siz- cine shows with his infectious blend of cross the rock/traditional music divide. This zling mandolin runs that add color and tex- blues, ragtime and minstrel show tunes. In one-time member of Planxty and former ture to his repertoire. — RWeir 1961, at the age of 61, he recorded this touring partner of Andy Irvine has also wonderful collection of ten songs, includ- penned songs for Cher, Tina Turner, and JAMES KEANE, Sweeter As The Years ing the great version of “Travelin’ Man” Bonnie Raitt. This collection captures the Roll By, (Shanachie 78031). Accordion- that would inspire revival musicians like eclectic Brady in numerous moods: the ist James Keane first attracted public at- Roy Bookbinder and Paul Geremia. Ander- rockabilly/skiffle king working through tention with The Irish Tradition in the 70s son was one of those great entertainers “The World is What You Make It;” a Van and has since been considered one of the who’d take their songs from anywhere. One Morrison-like soul man on “Crazy Dreams;” masters of the double-row button box. His moment it’s a novelty song, the next it’s an a sensitive social critic on “The Island;” and latest release continues his streak of ex- early Ray Charles hit. This is irresistible an Irish balladeer crooning still definitive cellence, whether ripping through a reel good-time, front-porch music. — MR versions of “The Lakes of Ponchatrain” and like “The Land of Sunshine,” or subduing “Arthur McBride.” Several tracks feature the energy level to play in tandem with new versions of vintage Brady, and there’s Michael Rooney’s harp on the title track. even a duo with Bonnie Raitt. — RWeir In fact, it’s his deftness and subtlety that

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