title: Breezy personality, jazzy creativity and interpretive twists

text: Originally from Buenos Aires where she received a music education specializing in Argentine tango and folk music, flutist/artist/educator Carla Campopiano relocated to Chicago in 2013. Her connections to both locations have led to many music projects, including this album with fresh takes on songs from celebrated Latin American composers such as Astor Piazzolla, Gustavo Leguizamon and Julian Plaza. We hear various kinds of music for dances best described at milonga portena, zamba, tango, vals or nocturna. Campopiano’s arrangements are infused with the flutist’s breezy personality, jazzy creativity and interpretive twists. Percussionist Gustavo Cortiñas also contributed to the aesthetic vison built around sound colorings tinted with emotion and feeling. The album is dedicated to the late Argentine singer Alba Guerra who’s featured on two tracks, “Vieja Viola” and “La Pomena.” Guitarist Gabriel Datcu, guitarist Zac Selissen and bassist Kitt Lyles each appear on a few tracks. Campopiano’s self-penned “Lluvia” has a peppy, rhythmic quality in its sparse offering of just flute and percussion. This album is an expressive one that celebrates an authentic type of Argentinian roots music, a product of the country’s urban melting pot. Although the 8-song set is over all too quickly, the music’s magnetism draws you in due to the passion, sentiment and nostalgia it so splendidly conveys. (Joe Ross, Roots Music Report)


title: Edwards' silky smooth vocals cover many moods

text: Originally from upstate New York, singer/songwriter Ellen Edwards had moved to Atlanta where she married, raised three children, sang professionally and released three albums. Edwards’ friend country artist Suzy Bogguss introduced her to producer-keyboardist Jason Miles, and some first-rate session cats were assembled for “A New York Session” to showcase five of Edwards’ new originals.  She’s joined by Randy Brecker (trumpet), Robbie Kondor (piano), Will Lee (bass), Jeff Mironov (guitar), Gene Lake (drums), Richie Morales (percussion) and Jason Miles (B3 organ, vibes and synthesizers). Edwards is poised to make a big splash to even larger audiences. Her silky smooth vocals cover many moods. She’s bluesy and forceful on a number like “The Queen’s Bridge,” and she can be wistful and ethereal with a ballad like “Blue and Green.” Brecker’s trumpet shines in “Let The Fire Grow” as Edwards sings “there’s a voice in my heart, and it won’t go away.” Latin bossa rhythms in “Over There” have engaging appeal. While the album ends all too quickly, it will certainly help Edwards build a legion of fans as she expands her horizons beyond Atlanta.  (Joe Ross, Roots Music Report)


title: Invigorating and soulful jazz

text: Invigorating and soulful jazz, with Latin and Afro-Caribbean influences, marks the new release, “El Matador” from Tribu (Spanish for “Tribe”).  Tribu is a cohesive ensemble that lays down bright swinging rhythms while the improvising instrumentalists ride playfully above the solid rhythmic foundation.  Marcus Lopez (bass), Carlos Caro (percussion), Mario Salomon (drums) and Jesus Gonzalez (percussion) are responsible for the tasty grooves, while Ruben Salcido (saxophone, flute), Dave Casini (vibes, percussion) and Steve McQuarry (piano, organ, bandleader) shine in their melodic solos. Ten tracks are original contemporary compositions from Salcido or Casini.  Salcido’s evocative title track opens the project in up-tempo fashion, while smooth numbers like “Me Quendo Con Ti” are more relaxed. Casini’s creative pieces like “Blue Two, “WW” and “Nite Work” are spirited and quite danceable.  McQuarry and Lopez also each contribute self-penned numbers, “Joya” and “Afroniki.” Tribu is a dynamite band, and “El Matador” is a vibrant expression of their art. (Joe Ross, Roots Music Report)

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title: A very pleasant listen

text: Trumpeter and vocalist Augie Hass’ sixth album presents jazz and doo-wop favorites, each tastefully rendered with unique flair. The songs are arranged with lavish string orchestration and interpretive twists provided by the trumpeter and solid rhythm section of Jared Schonig (drums), Dick Sarpola (bass) and Carmen Staff (piano, organ).  They jump start and turn “Love Me Tender” into a swinging musical journey.  Staff especially shines on classics like “Will You Love Me Tomorrow?,” “Blackbird” and “Stand By Me.” The sumptuous 15-piece string section, arranged and directed by Andrew Neesley, is more prevalent in some numbers (e.g. “Dream A Little Dream,” “Goody Goody”) than others, and it was wise to not overly orchestrate every number to the same extent. The album conveys Haas’ musical vision, one that apparently highlights his special fondness and past experience with orchestras, big bands and Broadway shows. Best known as a superior instrumentalist, this album also showcases Augie Haas’ relaxed vocal style on eight of the tracks. Clearly a fun project for this consummate musician, Augie Haas’ “Dream A Little Dream” is a very pleasant listen.  (Joe Ross, Roots Music Report)


title: Stanley’s subtle sensuality and lightly swinging style are compelling

text: Jazz vocalist Lyn Stanley’s sixth album, “London Calling,” is a gorgeous tribute to singer/actress Julie London who experienced considerable popularity during the 1950s and used “restraint, softness and subtlety to maximum advantage.” After recording her last album in 1967, London continued to act and had a “sex symbol” image.  Lyn Stanley does a very nice job with a similar sultry, sensuous vocal delivery of London’s 1955 pop smash “Cry Me A River.” Several other great classics from the American songbook make this a pleasurable listen of melodic mood music. Stanley’s lineup of accompanists is first-rate, and the songs were tracked spontaneously with no arrangements used. Cohesive but not over-orchestrated, the project’s music has a live, organic feel and the music is well served by this approach. Stanley delivers breathy versions and personal interpretations of standards like “Bye Bye Blackbird,” “Call me Irresponsible,” “As Time Goes By,” “Blue Moon” and “Goody Goody.” I also enjoyed her seductive and personal interpretations of songs like “Heard It Through The Grapevine,” “Summertime” and “Light My Fire.” London had plenty of hits and a few more could’ve been included, but Stanley’s goal was to “honor, not mimic, jazz stylist Julie London.” Presenting a classic format of melodic songs that are concise and minimalist, Lyn Stanley’s subtle sensuality and lightly swinging style are a compelling combination. It’s a pleasure to hear contemporary singers like Stanley recreating the memorable music of yesterday presented by the likes of jazz vocalists Julie London, June Christy and Helen Merrill. (Joe Ross, Roots Music Report)


title: An impressive and entertaining undertaking

text: Jazz composer and superb pianist Alberto Pibiri is an Italian musician now based in New York. During his study of classical and jazz music in France and Italy, he became enamored by the music of Canadian pianist Oscar Peterson. Pianist Alberto Pibiri opens his “Jazz Legacy” album with a delightful tribute, “For Oscar.” The sparkling quartet also includes Paul Gill (bass), Paul Wells (drums) and Adrian Cunningham (tenor sax, clarinet). Guests on this delightful album include guitarist Dave Stryker and vocalists Sheila Jordan, Jay Clayton and Miriam Waks. With all the songs composed and arranged by Pibiri, this is an impressive and entertaining undertaking. Each track is quite unique with a few highlights being “For Oscar,” “Kiss Kiss,” “New Bossa,” “Be Free” and “Oh Yeah.” (Joe Ross, Roots Music Report)


title: Powerful music with a unique flair

text: Jumping Matt is vocalist and harmonica player Matyas Pribojszki from Hungary. He started playing harmonica at age 15, after hearing the late Sonny Boy Williamson. From 1994 – 2004, his first band, The Blues Fools, became the most well-known Hungarian blues band on the European blues scene and recorded three albums. During the past 15 years, he has released five albums as Matyas Pribojszki Band, toured Europe and the U.S.  His signature jumps on stage earned him the nickname “Jumping Matt." His new release “Dressed Up” features the rest of his combo (Ferenc Szász-guitar,  Daniel Molnár-drums, László Csizmadia-bass), as well as the Custom Big Band with its twelve members. There are<br />a dozen songs on this CD, all originals except the closer "Switchin` in the Kitchen" (by Big Joe Turner). From start to finish, these guys create a nice, delightful groove that gets you jumping right along with Matt. There’s a lot of variety of this album from swing (“Real Good Man”) to boogie-woogie (“Zydecola Boogie”) to rock ‘n roll (“Can’t Make You Stay). This is some powerful music with a unique flair. (Joe Ross, Roots Music Report)


title: A ray of musical sunshine in a world that takes itself much too seriously

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Tap the ethos of your inner child. Akin to a number of Dilbert cartoons being put to music, it's hard not to immediately start chuckling when Bob Mitchell sings 44 minutes worth of his humorous music about office and home. Because I spend much of the daylight hours in a cube myself, I took to many of his messages like a mallard takes to a pond. Opening with "Stressed Out Blues," Mitchell evokes much of the same kind of emotional spirit that Hank Williams did with "Honky Tonk Blues." Mitchell's blues are related to not earning enough dough, a memo with forty more things to do, computers going down, budget cuts, and even his own in-service training where he performs these ditties.

Mitchell has been a bluegrass fan for about fifty years. He's a guitarist, author, social worker, seminar leader, keynote speaker, and an album reviewer for Louisville Music News. Although primarily into traditional bluegrass, he incorporates a little electric guitar, percussion and piano into some of his honky tonk and blues arrangements on numbers such as "I'm Going Where It's Peaceful." Some other favorites are "Will there be any Meetings in Heaven?" "The Whole World's on My Back," "Give Me that Old Time Depression," and "Tons of Paperwork." The melodies are familiar for many of Mitchell's songs. "Back to the Old Grindstone" takes its melody from "Sitting on Top of the World" as Bob sings "Was in the spring one sunny day, I got my check, two weeks of pay, It won't last long, I should have known, So it's back to the old grindstone."

When "Has Anybody Seen the Nurse?," is up (written to the tune of "Five Foot Two"), it's very apparent that medical professionals can relate to such lines as "Change the sheets, eat those beets! Run the halls with swollen feet. Has anybody seen the nurse? Takes some blood, urine too, lots of fun things she can do. Has anybody seen the nurse?" The title cut uses the melody of "Mountain Dew" and the song stops and goes with corny one-liners in hee-haw fashion. Lyrics for his songs can be found on his website. While there aren't any vocal harmonies, the uncredited instrumental accompaniment is solid and pleasing.

Music is a great way to relax and humorously deal with stress and burnout. In fact, Bob Mitchell reminds us to not take things too seriously. Laughter has been shown to be great medicine. If you don't want to experience side effects of drugs, try singing along with Bob instead. His album is a ray of sunshine in a world that takes itself much too seriously. And, even as an overworked album reviewer, I relate to his perceptive insight that "This job of mine sure is fun. At the end of a day I'm never done. The real problem is my brain's gone numb. The whole world's on my back!" (Joe Ross)


title: A jambalya of simmering eclectic music from Merlefest 2005

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Playing Time - 45:00
Songs: Hayes Carll - Chickens, John Jorgenson - F.A.Swing, Caroline Herring - Trace, The Duhks - Dance Hall Girls, The Greencards - Love's A Word I Never Throw Around, The Wayfaring Strangers - Don't Put Off 'til Tomorrow, Knig Wilkie - Broke Down And Lonesome, Allison Moorer - I Ain't Giving Up On You, Gigi Dover - Back When We Were Young, Cathy Fink & Marcy Marxer - Hopelessly In Love, BR549 - Tangled In The Pines, Daybreak - Gone For Dreaming

Music lovers with eclectic tastes will delight in Merlefest's sampler of its "quality diversified American roots based musical experience." The festival's third Fresh Faces album samples tracks from featured performers at the annual Bluegrass and Americana event in Wilkesboro, N.C. which is a tribute to Doc Watson's late son, Eddy Merle Watson, who died as the result of tractor accident in 1985. The first Merlefest took place as a benefit concert in 1988. Fresh Faces 2005 is a fine sampling of styles and acts who will either make their debut in 2005 or who haven't performed there for some years. While some have already established their reputations, others are emerging, high potential artists who are garnering considerable high acclaim.

The challenge with any CD that presents such a variety is to organize the material so that the overall product provides a pleasing and entertaining aural journey. With such a disparate sampler, it can be a formidable task to produce a coherent flow from start to finish. That is my primary criticism. As an example, sandwiching Allison Moorer's and Gigi Dover's electric tracks between the acoustic King Wilkie and Cathy Fink/March Marxer songs can be problematic. Alternating these acoustic and electric offerings has the same effect as trying to mix oil and water.

The strength of Merlefest's 2005 Fresh Faces release, however, is that it is an effective promotional tool for the festival, as well as an interesting souvenir for fans and attendees. A person's limited time can be maximized with this exploration and discovery of twelve artist's music. One certainly has to appreciate the diverse nature of this music festival which doesn't operate within confined sideboards. They support many up-and-coming groups and performers that push the envelope within multiple genres of music. Merlefest clearly has a strong commitment to diversity, a good thing in a multicultural society with disparate musical preferences. The 45 minutes on this sampler includes a mix of blues, gypsy jazz, singer/songwriter, old-time, Celtic, bluegrass, folk, rock, country, rockabilly and honky-tonk influences. That's a heck of a lot. Imagine what you'll experience live at the festival!

Merlefest offers a little something for everyone. Focus on the unique character of each performer sampled, and try to broaden your own musical horizons. .f your musical preferences are very clearcut and confined, then you may only like a few tracks on this CD. If you're in the market for a jambalya of simmering music, check out Fresh Faces. There are other Fresh Faces and Live! albums on-line at Amazon and the Merlefest website store. (Joe Ross, NWBluegrass)


title: A very solid, upstanding project

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Playing Time - 35:12 -- Mickey Harris may be best known as the bass player in Rhonda Vincent's band, The Rage. However, this solo project showcases another side of him as a strong bluegrass gospel lead and harmony vocalist who grew up in a Christian home in Tennessee that was always full of music. Before even entering first grade, Mickey became a guest on his uncle's TV show, "The Carl Tipton Show," that aired in middle Tennessee for over two decades and had a loyal following of viewers. In fact, on this album, both "Kneel and Pray" and "I'm Going Home" were written by Tipton. Harris hails from Leanna, Tn. and started playing when he was 10 years old. Harris practiced hard and learned to play most of the bluegrass instruments from family members and festival performers.  Whether singing in church or performing with his family, Harris has developed a varied gospel repertoire that includes favorite old classics, new evocative messages we haven't heard before, and even some originals penned by family members.  Much of his musical education also came from backing up others on stage, and during high school he had a band called High Lonesome. He toured with Tim Graves & Cherokee, Larry Stephenson, and Sally Jones & the Sidewinders before joining Rhonda Vincent's band in August, 2002.

While we hear some of his Dobro playing on "The Great Speckled Bird," he sticks to acoustic bass and lets his friends also share the instrumental spotlight. They include Kenny Ingram (banjo), Wayne Benson (mandolin), Hunter Berry (fiddle), and Josh Williams (guitar, mandolin, resonator guitar). Harmony vocalists incude Rhonda Vincent, Alecia Nugent, Jamie Dailey, Louise Tomberlain, and Sophie Tipton Haislip. Featured in an a cappella arrangement of "Just a Little Talk with Jesus," Louise and Sophie are Mickey's grandmother and aunt who also performed on Carl Tipton's show in the 1960s and 70s.  Carl, Louise and Sophie are all past heritage Award winners at Uncle Dave Macon Days.

Mickey is the only vocalist on four of the songs (I Don't Want My Golden Slippers, Oh Mom, Master's Call, Great Speckled Bird). The former selection comes from award-winning songwriter Tom T. Hall who also penned "They Called It A Church" with his wife, Dixie. Mickey's own self-penned "Peace of God" is arranged as a strong duet with Jamie Dailey. The joyful quartet sound of "When I Wake Up To Sleep No More" has a strong declaration about the happiness encountered "on Heaven's bright shore (telling the story) / With the redeemed of all the ages / Praising the One whom I adore."

With family roots dating back to Tennessee's early traditional music, Harris' family is very proud of what he's accomplishing as a professional musician. Whether a sideman or featured lead vocalist, Harris is a solid and upstanding musician. His third self-produced recording, "Kneel and Pray" is also a very solid, upstanding project. (Joe Ross)


title: On his way to becoming a fiddling legend in his own right

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Playing Time - 36:12 -- SONGS: Wow Baby, In The Pines (featuring Keith Williams), Billy in the Low Ground, Blue Kentucky Girl (featuring Sally Sandker), Leather Britches, Hard Living (featuring Rhonda Vincent & Sonya Isaacs), Waltz For Mom and Dad, Rag Time Annie, Kansas City Kitty (featuring Buddy Spicher, Buck White & Bryan Sutton), I'm Waiting To Hear You Call Me Darlin' (featuring Marty Stuart & Bobby Osborne), Fiddler's Dream, Softly And Tenderly (featuring Keith Williams)

The phenomenal Hunter Berry is first and foremost a fiddler of the highest degree. The 4-time SPBGMA Fiddler of the Year has also been nominated twice for IBMA's Fiddle Player of the Year. From the town of Elizabethton in the hilly region of upper East Tennessee, some might think this musician's musician was born with a fiddle in his hands. Seems that he actually learned to play the spoons at age four, and Hunter was sawing the strings by age nine. Taught by Benny Sims and David Yates, the prodigy progressed quickly. Now, when Hunter gets the rosin flying, it's easy to mistake it for smoke in his fiery playing.

The reputation of this young phenom spread like wildfire, and Hunter was invited to join Doyle Lawson's band when he was only in 8th-grade. His parents had to reluctantly defer Hunter's acceptance until arrangements were made so that he could quit school and get his G.E.D. So, at age 17, Berry became a professional musician touring with Quicksilver. The gig, which lasted for nine months, taught the young fiddler much about discipline. On this debut album, Hunter's first employer is featured as the principal mandolinist (six cuts), and Lawson sings tenor harmony on the closer "Softly and Tenderly." In January, 2002, another chapter in Berry's musical career was about to be written when he joined hard-working Rhonda Vincent and The Rage (replacing fiddler Michael Cleveland). In a song she co-wrote with Terry Herd, Rhonda sings the lead vocals on "Hard Living."

Perhaps most impressive is that fact that Hunter Berry understands his role as song carrier, one who not only comprehends the importance of folkloric tradition but also the need to keep it vibrant and alive. Some might argue that old-time fiddle tunes like Billy in the Lowground, Ragtime Annie, or Leather Britches are overdone war horses. However, in the hands of Berry & Friends, tasty new renditions are baked to perfection.  The core group of accompanists enlisted for the project includes Tony Rice (guitar), Doyle Lawson (mandolin), Ronnie Stewart (banjo), Darrin Vincent (bass). Arthur Smith's "Fiddler's Dream" is a hoedown we don't hear quite as often, and Hunter imparts sweet Texas-style bow work to the proceedings. Always an entertaining crowd-pleaser, his western swing arrangement of "Kansas City Kitty" also has drums (Tom Roady), piano (Buck White), and second fiddle (Buddy Spicher). Bryan Sutton's jazzy guitar break shines. Hunter's own triple fiddles embellish "In the Pines" and "Blue Kentucky Girl." Of special note are his own two originals, "Wow Baby" and "Waltz for Mom and Dad," the latter arranged without banjo. If fiddling is major part of this CD, so are the bluegrass songs that are so capably performed with guests like Dan Tyminski, Marty Stuart, Bobby Osborne, Adam Steffey, Jason Carter, Sally Sandker, Sonya Isaacs, Keith Williams, Randy Kohrs and others.

The gifted Hunter Berry is only 22 years old, and he's already hanging with bluegrass legends and at the top of the bluegrass game. A bright, fulfilling career ahead will yield many bountiful musical rewards for us too. Hunter's well on his way to becoming a fiddling legend in his own right. (Joe Ross, Roots Music Review)


title: A warm sound and traditional feeling

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Playing Time - 38:44 -- SONGS: 1. Widow's Eyes, 2. Going To California, 3. Little Churches, 4. I'm Thinking Of You Little Darling, 5. I Can Hear The Blue Ridge Calling Me, 6. Something About Homemade Biscuits, 7. Leaving Carolina, 8. The Old Altar, 9. Even Steven, 10. Stop, And Smell The Roses,11. Elkton Knights, 12. When The Angels Come For Me

Based in Maryland, Dean Sapp formed his first band in 1969 and has released many traditionally-based albums since 1987 with lively instrumental work and balanced vocal harmonies. With a large amount of original material, their eleventh release has six songs from Dean and two songs written by his brother Ben. "Elkton Knights" was written by Dan Curtis, the band's mandolin player from Baltimore, who succumbed on January 15, 2006 at age 71 to an illness called Kreutzfeld-Jakob. The band's bass-player, Darin Hirschy, and his wife, Tammy, document the story of their move from North Carolina to Maryland in "Leaving Carolina." Two additional numbers come from the pens of Jerry Don Martin and Dixie Hall.

The bluegrass community has taken note of Dean Sapp's songwriting. His 1997 release, "The Night the Titanic Went Down," resulted in an invitation to the ten-day Ausgrass `98 Festival near Sydney, Australia. Dean also appeared in the Songwriter's Showcase at IBMA's World of Bluegrass. Many of Sapp's songs are inspired by experiences in life or dreams. And I enjoyed Ben's instrumental, "I'm Thinking of You Little Darling." The band plays a variety of family venues, and they've also backed up Mac Wiseman, Bill Grant and Delia Bell, and others on occasion. Besides their original material, the band keeps Dean Sapp's bassy lead singing in the forefront. Like their last release,  "Coal Black Gold," this new project was recorded at Dixie and Tom T. Hall's Studio in Franklin, TN. The Halls and Sapp have known each other and respected each other's music for many years. After Sapp repaired Hall's Gibson F-5 Lloyd Loar mandolin, the band was invited to stay with the Halls when they played the Station Inn in Nashville a few weeks later. Dixie Hall's "Something About Homemade Biscuits" acknowledges that the band's favorite kind of songs are story songs like this one.

Dean Sapp's musical family roots go back to Virginia and North Carolina, where he started playing guitar at age six, seeing all the famous bluegrass musicians touring the area, and playing in bands with his uncles, Sonny and Johnny Miller. Besides guitar, Dean has also mastered banjo, mandolin, dobro, and bass. Dean is sole owner of "Dean Sapp's Music Store" located in Elkton, Md. where he gives lessons on all bluegrass instruments, buys and sells instruments, and repairs guitars. "I really do live for bluegrass music," he once said. Besides Sapp's guitar and vocals, this album features The Harford Express sound of Dan Curtis' mandolin, Ben Sapp's banjo, and Darin Hirchy's electric bass. Tim Graves guests as dobro player on a few cuts, and he particularly complements a slower number like the ¾-time "The Old Altar." The band now has Baltimore dobro player Russ Hooper and mandolin player Bobby Van Hoy. The band's collaborative result is a warm sound and feeling. Their charm is based on moving songs reminiscent of bluegrass music's bygone days, and not trying to over-produce them.  (Joe Ross, reviewer for the California Bluegrass Association and Root Music Report)


Playing Time - 44:52 -- SONGS: 1. Business, 2. Rain Check, 3. The Sky Is Falling, 4. Run Away, 5. Get The Lead Out, 6. Left Out, 8. Rocket Ride, 8. White Window, 9. Suddenly, 10. Pessimistic Proposal, 11. One Man Band, 12. Cheap Date, 13. Light, 14. Regret

Singer-songwriter Benjamin Olson describes his music as "pop-sensible Americana folk-rock." He has a few catchy melodies, and he seems sincere in the delivery of his lyrics although a song like "Left Out" challenges his range on the low register. Originally from Wisconsin, Olson started writing songs at age 15, and he had over 100 songs by the time he graduated high school. He eventually found himself Nashville in 2003. While he had played drums and piano (and does so on a couple tracks of "White Window"), his favorite instrument is now the guitar. Others on the album include Rod Lewis (bass, vox), Tim Grogan (drums, percussion, keys, vox), and Howard Buckwold (electric guitar, mandolin).

Olson appears to be reaching out to the Americana market, and his challenge is to create memorable songs.
His music seems more in tune with the Austin scene than perhaps Nashville. His best efforts are "One Man Band," "The Sky is Falling," "Regret," and "3d Rocket Ride." While "Regret" is regretfully a little short (under two minutes), it has a nice acoustic flavoring in comparison to the drum-heavy and throbbing opener, "Business," which has punk or grunge overtones. "Rain Check" starts with a haunting feel then the song's genesis takes us through some dynamics of various tonal and rhythmic colors. The title cut, an instrumental piano piece with eerie synthesizer which appears at track 8, seems a bit out of place sandwiched between the more raucous offerings. However, it does showcase his piano playing in a rather lean, almost demo-like, arrangement. "Suddenly" then establishes a funky groove as it relates a enigmatic recipe. Despite Olson's perseverance and dedication to his craft, the message in "Pessimistic Proposal" could be construed as a rather defeatist attitude when it comes to love-gone-wrong or rejection.

To get his messages further heard and understood, Olson should've included his lyrics in the CD jacket. Stylistically, "White Window" shows that Benjamin Olson shows promise as a budding songwriter. I'd encourage him to listen to some guys like Tom Russell, Jon Randall, Rodney Crowell and Ryan Shupe for a better handle on the alt country genre. I did appreciate his ability to combine blues, rock, punk and funk rhythms into his music. With some good support and a bit of luck, we could be hearing much more about Benjamin Olson in the near future. (Joe Ross)


title: Delectable collection of banjo-centric instrumentals

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Playing Time - 47:50 -- Songs: 1. The World is Waiting for the Sunrise 2 Heartaches 3 Wheels 4 Hungarian Gypsy Dance 5 Stars and Stripes Forever 6 Big Hillbilly Breakdown 7 Scott Joplin Medley 8 Butterfly Bounce 9 Red Wing 10 Dixie House Rag 11 You Tell Me Your Dream 12 Opus #5 in G for Strings 13 Black Mountain Rag 14 San Antoinio Rose 15 Centipede Shuffle 16 Wait 'til the Sun Shines Nelly

A delectable collection of banjo-centric instrumentals, "Sunrise" will have you whistling or humming along before the third track cues up. A generous 16-track project that emphasizes favorite old-time melodies, it reminds us that the banjo is one happy instrument when flawlessly picked by an expert like Ray Hesson. The instrumental collaboration also showcases some exquisite accompaniment from Mike Auldridge (dobro), David Grier (guitar), Chris Walls (bass), Chuck VanMeter (guitar), Wayne Taylor (guitar), Marc MacGlashan (mandolin), Lenny Whitehead (mandolin), Akira Otsuka (mandolin), Mark Baker (dobro) Sue Tic (fiddle), and Jordan Tice (guitar). Guitar credited to "Bone Spoonwell" is actually being played by Ray Hesson.

Liner notes offer a few sentences about each of the guest artists. However, one write-up is sorely missing. Just who is this melodic-style banjo player, Ray Hesson? Apparently, he's played the ol' five since a young age. From Bowie, Md., he plays in a band occasionally but is more likely to be seen as a festival spectator or banjo contest competitor. Ray has taught music since he was in high school, and one of his students was actress Goldie Hawn. He's now retired from 27 years of service with the Federal Government (21 with NASA, 6 with Navy). He played with a D.C. group for 20 years called Foggy Bottom. He also performs in a duo with his son Michael, and with other children in a group called Pointer Ridge. Ray and Michael performed at Bill Clinton's first Inaugural Dinner. In 1994, Ray won the Winfield banjo contest, and in 1996 he recorded his first banjo instrumental album. In 1996, on the way to register for the banjo contest at Merlefest, he suffered a heart attack. He recovered and began performing again.

Hesson shows clear mastery of the banjo, and he is very confident and comfortable playing such classics as The World Is Waiting for the Sunrise, Hungarian Gypsy Dance, a Scott Joplin Medley, Stars and Stripes Forever, San Antonio Rose, and Wait 'til the Sun Shines Nelly. These are difficult tunes, folks! Hesson attacks them with a lyrical bounce that is sheer delight. Of special note are Hesson's own originals, Centipede Shuffle, Big Hillbilly Breakdown, Butterfly Bounce, and Opus #5 in G for Strings. These give the rest of the band a good workout.
Another standout on the project is "Dixie House Rag," written by D.C.-area picker Keith Arneson.

Ray Hesson is a champion picker, and this CD was a labor of love for him. While having some health problems, Hesson considers himself a "closet picker" but still manages to get out and play in a "smoky biker bar or something similar" now and then. His third album, "Sunrise," is a real treat and worthy instrumental addition to the collections of fans of accurate melodic playing. I still recall the feeling when I first heard Bill Keith's banjo work many years ago. With some good distribution of his eclectic and impeccable music, Ray Hesson's notoriety could have just as significant of an impact on banjodom. (Joe Ross)


title: Great showcase of this band's abilities, showmanship & crowd appeal

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Wild Sage is a California-based bluegrass band that formed in 1998. They convened at the Painted Sky Recording Studio in Cambria, Ca. on March 29, 2003 to record this live recording before a sold-out crowd. The group includes Eric Brittain (fiddle, mandolin, lead guitar, resophonic guitar), Chris Cairns (banjo, mandolin, lead guitar), Larry Claxton (bass), and Susan Reeves (rhythm guitar). Claxton sings "Freeborn Man" to open the set. Following band introductions, rhythm guitarist Susan Reeves sings her contemporary original, "Sixteen." Reeves has written other material for the band, and she gives us an engaging and bluesy "Standing on a Street Corner," that is embellished with some tastefully rendered lead and resophonic guitar licks. At one point, the crowd wants to start clapping along. Reeves' tale of searching, "On and On," picks up the tempo near the end of the piece and does get the crowd into it for awhile. Another original on this project is Brittain's "Ride `Em Hard," an uptempo instrumental.

Susan Reeves' background includes her musical family, eight years of piano training, and eclectic tastes in music. Originally from New York, Chris Cairns started playing guitar and banjo as a child, and he formed his first bluegrass band, The Yankee Bluegrass Boys, in 1988. Eric Brittain played in his family's bluegrass band, Buffalo Butter, and has released several solo albums and performed on many more.  Raised in Kentucky, Larry Claxton has been a bluegrass deejay, bluegrass association president, and festival director.

Wild Sage is a band with four well-balanced and matched musicians who are very capable on their instruments. Brittain and Cairns definitely share the main spotlight in the hot picking department. They really tear up some favorites like "Whiskey Before Breakfast," "Foggy Mt. Special," "Bye Bye Blues," and "Remington's Ride." Brittain's solo rendition of "Tennessee Stud" receives thunderous applause. As with many live albums, there are some imperfections and audience noise, but "Live at Painted Sky" is a great showcase of this band's abilities, showmanship and crowd appeal. Wild Sage's original material, solid instrumental work, and balanced vocals will take them far in their region.  (Joe Ross, Calif Bluegrass Assn. reviewer)


title: A relaxed & comfortable commercial sound with classic country sensibilities

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Cracker Barrel's 500 stores now have listening stations equipped with headphones where you can hear selections from their catalog of heritage albums that span bluegrass to Celtic, country to Cajun, and Native American to traditional jazz. Launched in collaboration with the National Council for the Traditional Arts, the label celebrates regionally-inspired traditional music.

In 2002, East Tennessee country singer Linda Lay put out an especially pleasant package of classic country favorites called "Linda's Mercantile Store" (CB-101). Successful shows and rave reviews in support of that album led to the trio of Linda and David Lay, along with David McLaughlin, to stay together as a band called Springfield Exit. Guests include Rickie Simpkins (fiddle) and Ricky Davis (pedal steel).

Raised in Bristol, Virginia, Linda Lay was singing on stage with her father and uncles by the time she was only six. She and her husband used to perform with the band, Appalachian Trail, and they now have a vegetable farm and country store in the Goshen Valley of Tennessee. She sings and plays acoustic bass.
David Lay is a talented harmony singer and solid rhythm guitar player. From east Tennessee, he has traveled extensively and has been a featured guitarist with the Masters of the Steel String Guitar.
A full-time musician since 1978, David McLaughlin was a founding member of The Johnson Mountain Boys, a group twice nominated for a Grammy Award. He has played the Grand Ole Opry, the White House, Carnegie Hall, and on TNN. In the mid-1990s, he was with the country and folk duo, Crowe & McLaughlin. McLaughlin plays several instruments and sings harmony with Springfield Exit.

Springfield Exit's instrumental prowess, singing, and song selection make for a pleasant experience.
"Miss Linda" has a magnetic voice, and she has an affinity for singing stories about life drawn from the pens of Tom T. and Dixie Hall, Dolly Parton, Hazel Dickens, Don Williams, Greg Brown, Dale Ann Bradley and Vicki Simmons, and others. Springfield Exit's country cookin' primarily simmers on a burner of slower to moderate tempos with toe-tapping rhythms. While certainly not bluegrass in its truest sense, the band has a relaxed and comfortable commercial sound with classic country sensibilities. Linda sings powerfully and with good vocal control. Songs are nicely arranged and are tastefully delivered.  Springfield Exit will bring many hours of listening enjoyment to fans of acoustic country music with light percussion and pedal steel. (Joe Ross, California Bluegrass Association reviewer)


title: Rising stars in the bluegrass community

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Playing Time - 68:20 -- The Sons and Brothers' fourth album project was recorded live on December 11-12, 2003 at the Horn Creek Amphitheater in south-central Colorado. At approximately 9,400 feet elevation on the side of Horn Peak, Horn Creek overlooks the beautiful Wet Mountain Valley and the quaint western town of Westcliffe, Colorado. You'd think that the thin air at that elevation would make it difficult to pick bluegrass, but The Sons and Brothers were on their home turf and rose professionally and commendably to embrace the special occasion. The audiences were large and receptive, the band well-rehearsed and full of energy, and the sound engineer was right on. Everyone had a good party. Over six hours of recorded material were boiled down to over an hour's worth for this project.

The Sons and Brothers band includes mandolin and guitar-player Frank Wolking and his three sons, Mike (guitar, dobro, banjo), Aaron (acoustic bass guitar), and Joe (mandolin, fiddle). From Westcliffe, a small town at the base of Colorado's Sangre de Cristo Mountains, this band started in 1998 as a Christian music band. Their emphasis on both secular and sacred music holds a great appeal for many. Drawing its material from Bill Monroe (Blue Moon of Kentucky) and traditional (Drifting Too Far From the Shore) to The Rolling Stones (Wild Horses) and John Denver/Emmylou Harris (Wild Montana Skies), the band's appeal is largely due to their varied repertoire.

This charismatic group is also very comfortable on stage, and they clearly know how to work a crowd with their showmanship and stage presence. This album includes the introductions to the songs, and those offer some insight in how the band properly establishes an excellent rapport with their audiences. After introducing the band's "wonder boy," Aaron Wolking launches into an enchanting gospel song written by Colorado Springs, Co. songwriter John Swayne called "This One Belongs to Me." Their own fiery instrumental version of "Dusty Miller" becomes their set closer, "Dusty Minor." Ron Thomason introduces the band in his typically humorous manner, and he also joins the band for some numbers at the end of this CD. Their "token train song" is an uptempo allegorical message about a man's encounter with God.  A rousing rendition of Ola Belle Reed's "I Believe" is a real crowd-pleaser, as is their encore rendition of Phil Rosenthal's "Take Him In." This impressive live album provides strong evidence of this band's work ethic, and it gives us a strong indication that The Sons and Brothers are rising stars in the bluegrass community. (Joe Ross)


title: A tune carrier preserves & promotes an old style of mandolin playing

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With the assistance of Rick Starkey (guitar), Fletcher Bright (fiddle), Doc Cullis (banjo), Mary Burdette (bass), Angus Gorman (guitar, 3 cuts), and Kim Holmes (piano, one cut), mandolinist Skip Gorman serves up some tasty "old style mandolin." Subtitled "Monroesque," Gorman draws heavily from the repertoire of Bill Monroe. Thirteen of the 17 offerings were composed by Monroe. The other four include Jerry Stuart's "Rocky Run," Tex Logan's "Come Along Jody," and the traditional "Kansas City Railroad Blues" and "Smoky Mountain Schottische." There's also a volume 1 in the series, dating back to a cassette tape release in 1991, that includes additional old-time and bluegrass instrumentals, as well as several of Skip's originals.

For over four decades, Skip Gorman has been enchanted, even obsessed at times, with Bill Monroe's style of mandolin playing which is built upon the oldtime fiddle tradition and which defined bluegrass music. Gorman has resisted influences of other genres of music that could have tainted the sentinence and nuance with which he plays. "Monroesque" demonstrates that Gorman has a proficient command of the instrument and that he has mastered the seminal style of the Father of Bluegrass. Like Monroe's, Gorman's playing can be fairly subdued in one tune, while intense in another. The backup playing uses a powerful and percussive right-hand rhythm chop. The uptempo tunes are played with incredible speed and dexterity, mostly with the standard alternating up- and downstrokes. Gorman also incorporates blues notes and phrases, as well as syncopated downstrokes, other key elements of Monroe's style to draw power from his eight strings. Gorman's playing is clean, passionate and expressive. I suspect that he also alternates his picking between the instrument's bridge and fingerboard in order to produce timbral variation from bright and crisp treble sounds to warm and mellow mid-range tones as Monroe did. On these particular fiddle tunes and instrumentals, Gorman typically stays fairly close to the melodies without too much improvisation.

Born in Rhode Island a little over fifty years ago, Skip Gorman got his first guitar at age eight and met Bill Monroe by the time he was only twelve. Being introduced to traditional music at the Newport Folk Festival were other inspirational moments in his life. While attending Brown University, Gorman played in various string bands. Gorman then traveled to Ireland to explore the Celtic roots of American music. In 1973, he attended graduate school in Utah, began collecting early recordings by cowboy singers, and performed with the Deseret String Band.

Gorman's first album of old-time cowboy songs and fiddle tunes, Powder River, dates to 1977. "Trail to Mexico" followed in 1983.  While teaching high school Spanish and history for twelve years, Gorman performed with Rick Starkey in a duo, Rabbit in a Log. He also released a solo instrumental album, Old Style Mandolin. Gorman's 1995 Rounder label debut, "A Greener Prairie," was one of the Boston Globe's top ten folk recordings of the year. Gorman's music has been used in Ken Burns' documentaries. Gorman's 1996 release, "Lonesome Prairie Love," was a finalist for NAIRD Traditional Folk Recording of the Year award.
In 1999, Gorman released his third album on Rounder called "A Cowboy's Wild Song to His Herd," which was one of Amazon.com's Top Ten Folk CDs that year.

Besides being an excellent fiddler and singer, Skip Gorman is clearly a tune carrier who feels a strong compulsion to preserve and promote an old style of mandolin playing. He picks a nice variety of  melodies that are not commonly played except by the most erudite scholars of Bill Monroe's  music. That day in 1961 that Monroe and Gorman first met was a fateful one. A photo on the CD's back also shows Gorman jamming with Bill and James Monroe, Roland White, Kenny Baker and Vic Jordan at Carlton Haney's seminal 1968 bluegrass festival in Berryville, VA. It's nice to see some of these rarer tunes back in circulation. I hope that mandolin players take note of them, and I'd like to see the music and tablature for them more widely circulated also, perhaps on-line at sites like mandozine.com and mandocafe.com.  (Joe Ross)


title: wonderful groove

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Playing Time - 49:04 -- 1. all of me, 2. autumn leaves, 3. bye bye blues, 4. swan quarter, 5. remember me, 6. honeysuckle rose, 7. BaBoo's blues, 8. lullaby in birdland, 9. moonlight in vermont, 10. cherokee, 11. after you've gone

What a pleasant swingy surprise! Although they stick mainly to standards, Jimmy and the Swingers breathe new life into them with tastefully rendered arrangements characterized by unique interpretive twists. Six of the eleven cuts span over five minutes each, and some move into new and enchanting acoustic territory. I was left questioning their 90-second atmospheric improvisation that concludes "All of Me," but I truly enjoyed all of their renditions.  Jim Kanas hails from DeKalb, Il. and is a consummate veteran jazz guitarist. Grammy nominee Don Stiernberg continues as among my favorite jazz mandolinists. Randy Sabien does some especially fine and creative bow work on this project. He has played on Austin City Limits and A Prairie Home Companion. A very solid low end is cemented by bassist Larry Gray who also plays with Ramsey Lewis. Engineer Steve Yates also deserves kudos for capturing the quartet's musical chemistry in a masterful way. You can learn more about the players and CD at [...]

Two Jim Kanas originals, "Swan Quarter" and "BabBoo's Blues," appear at tracks four and seven, respectively. The former is leisurely played to a slow bossa rhythm that allows each musician to fully explore the melody's mood. Stiernberg's tremolo paints a picture of imagery which had me daydreaming about sipping wine at a sidewalk café on a warm, summer day. Measure after measure, their music is simply a true joy of life! In music, as in life, playing the changes can be challenging. Jimmy and the Swingers embrace it, and these chordmasters navigate without ever getting lost or disoriented on challenging pieces like "Baboo's Blues." The result, with its abundant reward, is a spiritual and emotional depth to their music. Joe Pass would be proud of them.

Jim Kanas is a highly-acclaimed, award-winning guitarist who has studied classical music and jazz improvisation, although he's also played bluegrass, folk and traditional music. Few know that the multi-instrumentalist can also expertly play pedal steel guitar, fiddle, banjo, harmonica, mandolin, dobro and sing. His unique interdisciplinary performance degree program at Northern Illinois University
emphasized contemporary guitar, commercial music and American folk instruments. He performs and records as a soloist, with the Jim Kanas Trio (folk, bluegrass, western swing), and with the Jim Kanas Jazz Quartet. He is in a PPS feature (WTTW11-Chicago PPS) "Arts Across Illinois" which has aired many times.

This album project was partially funded by a grant from the Illinois Arts Council, which also sponsors Kanas as an artist-in-resident and touring roster member. His collaboration with Stiernberg, Sabien and Gray is a special one. These professionals are competent and committed to excellence. I sense that they're also very passionate about what they do. Jimmy and the Swingers follow their vision and establish a wonderful groove. (Joe Ross)


title: A wholly absorbing sound ....that will easily engross your attention

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A blue moon is a second full moon in the same calendar month, and it's been a few years since the last one happened on November 30, 2001. However, for a lively Tennessee-based group called Blue Moon Rising, the month of July, 2004 should be especially memorable for that's when a blue moon will rise again. By then, you'll have heard of these guys who actually received the inspiration for their band name from the famous Bill Monroe song, "Blue Moon of Kentucky." In their relatively short four years together, they have played a number of noteworthy festivals and venues. BMR is Chris West (guitar), Keith Garrett (mandolin), Justin Moses (banjo, fiddle) and Tim Tipton (bass). Guest dobro-player Rob Ickes also joins in. Keith and Chris share the lead vocal duties, with Justin typically singing tenor.

"Where Wood Meets Steel" has twelve originals, eight of which were written by band members.
Chris West composed the right hot and snappy opener, "Dead Man on the Run." I also enjoyed "My Turn," written in the brother duet style reminiscent of groups like the Delmore Brothers in the 1930s. Garrett and West are more low and forlorn than they are high and lonesome, but the song still works for them.  I was left pondering how the song would've turned out with high, soaring vocals, however. "I Don't Want to Hear it" has a nice hook and reminds me of Jim Lauderdale's songsmithing. Tragedy songs are fairly common in bluegrassdom, and "When the Mountain Fell Down" tells the story a fictional miner named Billy Joe and his death at the Fraterville Mine disaster in Tennessee. The event occurred in 1902, and 214 miners died as a result of an explosion inside the mine. West's understanding of the thematic stylings of this genre may best be captured on the "Highway of Despair" where the "highway's paved with agony, and every exit leads you into misery." Keith Garrett's best songwriting is demonstrated in "Moonshine Hard Times," about a moral churchgoing man who would make and sell moonshine but not drink it.  Moses' fiery instrumental "Locust Hill" moves right along in high-stepping allegro fashion.

Keith, Chris and Tim are only in their early thirties. Keith Garrett has performed with The County Boys (that played Dollywood for six years), in a duo with Jay Clark, Browder Hollow, and Kentucky Wind. Chris West is a former member of Coal Creek, The Pitney Seibers Family, One Way Track, and Roscoe Morgan and Lonely Train.  The youngest band member at only 22 years old, Justin Moses can pick any bluegrass instrument and still plays in his family's band, The Moses Family. Tim Tipton has played with Kentucky Wind and Clear Creek. Since the release of this album, I understand that the band has added
Lou Wamp on Scheerhorn resonator guitar and twin fiddle.

You hear many disparate influences in the music of Blue Moon Rising. Their traditional consciousness indicates a full understanding of Bill Monroe's and the Stanley Brothers'music. Yet, at the same time,
it's apparent that this group of young technicians have heard more recent innovative bluegrass ground-breakers like Tony Rice, Knoxville Grass, Boone Creek, Del McCroury, IIIrd Tyme Out, Lonesome River Band, Lou Reid, New Grass Revival, and Ricky Skaggs. With continued growth, strong support, plenty of hard work, and a little luck thrown in, we might be one day adding Blue Moon Rising to this list of seminal bluegrass influences. BMR has a wholly absorbing sound, one that will easily engross most listeners' attention. Always creative and entertaining, this up-and-coming band's signature sound is novel and immediately appealing. Only rarely, once in a blue moon, does a group of young musicians come along who clearly show so much potential as a cohesive bluegrass unit. (Joe Ross)


Playing Time - 49:50 -- If I were to pick my favorite hymns of all time, many would be found on the Stony Point Quartet's "Band of Angels," a recording project which is part of the new 16-CD Heritage Music Catalog from the Cracker Barrel Old Country Store. These popular hymns are sung with fervor and ardent conviction. Most of the songs chosen emphasize the two most recurrent and predominant themes found in bluegrass gospel music. The Quartet sings of life's perilous and rocky journey, while "Drifting Too Far From the Shore," but they exclaim, "Pass Me Not." Be strong, follow God, live a "Beautiful Life," and "Hold to God's Unchanging Hand,"and you'll reach a land "Where We'll Never Grow Old." The other theme found (at least implicitly) in nearly all bluegrass gospel songs is that of individual salvation. Like "Paul and Silas," the Quartet will join the "Angel Band" in the "Sweet By and By" in a place "Where the Soul of Man Never Dies." If you "Kneel at the Cross," then you'll eventually assert joyously, "What a Friend (we have in Jesus)!" The group's song selection concentrates on prayers set to music, and they are sung with reverence and humility. The Afro-American spiritual tradition is also well represented with such numbers as "Angel Band" and  "Swing Low Sweet Chariot."

The 14 hymns on "Band of Angels" are played masterfully on guitar, mandolin and string bass by this gospel group that includes ex-Johnson Mountain Boys Dudley Connell and David McLaughlin, along with Linda Lay and Billy Lux. The band takes its name from the homeplace of McLaughlin's grandfather, a pastor in Stony Point, Tennessee from 1927-30. The Quartet uses a minimalist approach to their instrumentation, and this works effectively to feature their vocals without any distractions. However, perhaps some fiddle, banjo or resonator guitar might have enhanced a few of the numbers. These messages hold special meaning for many of us, and it's clear that these hymns also have a very special place in these singers' hearts.

A word should also be added about Cracker Barrel's new heritage record label which was launched in collaboration with the National Council for the Traditional Arts. With a goal to celebrate regionally-inspired music, the restrauant and gift shop chain has already released 16 titles embracing country, bluegrass, western swing, honky tonk, Southern gospel, Irish, Cajun, Native American, Mexican, New Orleans jazz and sacred steel music. Some other artists involved in the series are Asleep at the Wheel,  Seldom Scene, J. D.  Crowe and The New South, Cephas and Wiggins, Robert "Tree" Cody, Bill Kirchen, Winifred Horan, Bob French's Original Tuxedo Jazz Band, the Balfa Brothers and the Birmingham Sunlights. My hat is off to them for their support of traditional American music. (Joe Ross, Roseburg, Or.)


title: Standard traditional bluegrass fare from a child prodigy who deserves our encouragement & support

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Total Playing Time - 32:36  Song Listing:  1. Shady Grove, 2. Me and My Old Banjo, 3. Shuckin' the Corn, 4. Girls Are Looking Better, 5. Ocean of Diamonds, 6. Big Ball in Brooklyn, 7. Will You Be Lonesome, Too, 8. Ground Speed, 9. Hold What You Got, 10. Pig in the Pen, 11. Little Darling Pal of Mine, 12. McKinley's Blues, 13. Rank Strangers

Ten-year-old Ryan Holladay may be only knee-high to a grasshopper, but he has already accomplished more in his first decade than many professional musicians will ever do in a lifetime. A picker and singer since age four, Ryan has appeared on numerous television shows and at bluegrass festivals in about a dozen states. At age five, Holladay was the youngest ever to perform on the Grand Old Opry. His debut CD was simply called "I Want to Play the Banjo," after a song penned by Tom T. and Dixie Hall. Now, Ryan's second project titled "Old Soul," is out and includes material by Dixie Hall, Sonny Osborne, Earl Scruggs, Alton Delmore, Jimmy Martin, A.P. Carter, Bill Monroe, Carter Stanley, Albert Brumley and others.  The album features a heavy dose of standard traditional bluegrass fare that demonstrates Holladay's mastery of the banjo and the genre. Most of the accompaniment is ably provided by Mark Holladay on guitar, Bobby Clark on mandolin, Laura Cash on fiddle, Blake Williams on bass, and others. Ryan's promotional material also bills him as an "accomplished vocalist," and he shows a natural affinity for singing lead and tenor.
However, his voice is still young and unseasoned, and I look forward to hearing him sing after a few more years of maturity. A child prodigy, Ryan Holladay continues to turn heads because he is the future of bluegrass music. Let's hope that he sticks with it and isn't just a novelty act whose time will pass as he gets older or if he loses interest. In the meantime, Ryan Holladay deserves our encouragement and support as an inspiring young musician who could be the next Ricky Skaggs or Marty Stuart. (Joe Ross)


title: It's a bluegrass gem

text: Many know Kenny Smith from his rock solid guitar work with the Lonesome River Band from 1995-2001 which led to his twice winning the IBMA's  "Guitar Player of the Year" award. Smith's solo project, "Studebaker," had us take note of his songwriting abilities and also introduced us to his lovely and talented wife of six years, Amanda, whose soulful singing makes us sit up and listen closely. When the couple decided to embark on this latest project, "Slowly But Surely," they assembled a band of tasteful musicians to give their debut album a unique, original sound. Ronald Inscore (mandolin), Jason Moore (bass), Steve Huber (banjo), and Ron Stewart (fiddle) do just that by ably contributing some tight picking with drive to the Smiths' arrangements of contemporary bluegrass and Gospel. Sonny Smith plays banjo on one track (River of Regret), and Ronnie "Buck" Freeland offers light percussion on "Nancy Jane." The songs include a nice mix of original material, as well as some old, but reworked, classics from the bluegrass, country and western swing repertoire. This album has many strengths - beautiful vocals, expert picking, solid arrangements, excellent repertoire, and a high recording quality.  Simply put, it's a bluegrass gem. We'll be hearing more from Kenny and Amanda Smith, and I hope that they'll be touring with a band as fine as the one put together for this recording project. (Joe Ross, Roseburg, Or.)


title: Real nice feeling & a wonderful showcase for Donna's singing & songwriting skills

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North Carolinan Donna Hughes has a very pleasant voice and singing style that is well-suited to contemporary bluegrass and gospel music. I'm certain that we'll be hearing more from this young lady who is also a good songwriter. For this 15-song project, she assembled some accomplished young musicians including Gena Britt (bass), Greg Luck (guitar, fiddle), Jeff Davis (banjo), Ashby Frank (mandolin), Johnny Dowdle (bass), Kim Gardner (resonator guitar), Daniel Routh (banjo), Boyd Hulin (mandolin), Kevin Richardson (guitar) and William Britt (lead guitar). Harmony vocals are quite ably handled by Crystal Sawyer, Britt, Dowdle, Routh, Davis, Hulin, and Luck.

Her self-penned title cut, "Somewhere in Time," is a "love-gone-bad" song that is deserving of more national airplay. The second track on this album, "Loser" is also an original that has a very similar feel to the opening cut. Hughes' song, "Johnny" is a tribute to her great-grandfather who served two terms as sheriff of Randolph County, N.C. at the turn of the century. The band ably covers Lennon and McCartney's "Yesterday." A straight-ahead bluegrass sound characterizes her originals "In This Prison" and "The Rainbow's End."  Unclouded Day, Farther Along, and God Loves His Children are three gospel offerings on the album. This album has a real nice feeling and is a wonderful showcase for Donna Hughes' singing and songwriting skills. Her vocal style is distinctive. Her songs cover traditional themes, yet have a new, fresh sound. Her talented accompanists are first-rate musicians. Her debut album is one that you should pick up and add to your collection.  (Joe Ross, Roseburg, OR.)


title: Hard-hitting bluegrass gospel music with uplifting messages that comfort & bring happiness

text: Hailing from East Tennessee, New Road (not to be be confused with the band NewFound Road from Ohio) is a bluegrass gospel quintet together since 1995 whose mission is "to uplift the blessed name of Jesus, direct lost souls to His saving grace, and to offer cheer for their fellow brothers and sisters in Christ." Their enthusiastic, spirited music is largely original, and they were invited to showcase at the IBMA World of Bluegrass in 2001.  On their fourth album project, What the Lord Gave Us, they continue to present hard-hitting gospel music with uplifting messages that comfort and bring happiness. Their strong vocals are presented with earnestness, yet they also display reverence, solemnity and humility. Their instrumental prowess is similarly dynamic. The band consists of Randall Massengill (guitar), Scott Payne (bass), Vic Graves (dobro), Mike Ramsey (mandolin), and Stuart Wyrick (banjo, guitar). On this project, they are joined by Ron Stewart on fiddle. I am also impressed with the continuing high quality of projects, like this one, recorded and mixed by Tim Austin at Doobie Shea Studios. Strongly based in a traditional style, yet presenting new material with timeless messages, New Road continues to praise the Lord and sing unto Him a "new song." (Joe Ross, Roseburg, Or.)


title: Polished grassified country music

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What a fitting tribute to Bobby Osborne's 60th anniversary as a professional entertainer! In 1949, an 18-yr-old mandolinist from Hyden, Ky. named Bobby Osborne started his pro musical career with banjo player Larry Richardson, Charlie and Ray Cline in a group called The Lonesome Pine Fiddlers. By 1953, Bobby and his banjo-playing brother, Sonny, were working with Jimmy Martin. With Red Allen singing lead, the Osborne Brothers formed their own band in 1955 and joined the Grand Ole Opry in 1964.

"Memories" has all the trademarks of the Osborne sound. There are Bobby's tenor and high lead vocals, as well as his straightforward and personalized mandolin breaks based largely on single-line melodies, a styling he adopted after playing electric guitar and fiddle at an early age. As with other recent albums, Bobby continues to offer both new material with songs that have been around for decades. The latter include hits like Rocky Top, Ruby, Mountain Fever and With A Pain In My Heart. I'm surprised they didn't also include "Kentucky," the other state song recorded and made famous by The Osborne Brothers. Besides the typical bluegrass instruments, we also occasionally hear piano, keyboards, steel guitar, and even the fretless Japanese shamisen (courtesy of Takeharu Kunimoto)  bending its strings on one track, "Up This Hill and Down." While a CD jacket photo is included, the liner notes don't clearly identify who Bobby's "Rocky Top X-Press" band is, but credited musicians include Glen Duncan, Bobby Osborne Jr., Mike Toppins, Tim Graves, along with 1-2 tracks apiece featuring Patty Loveless, Russell Moore, David Grisman, Ronnie McCoury, Sammy Shelor, Audie Blaylock and David Harvey. It was apparently an oversight to not credit anyone for the prevalent drum tracks throughout the project, as well as bassman Daryl Moseley who is identified on Bobby's website as a member of Rocky Top X-Press (since Dec 2001) and is also credited on this CD for writing "I've Seen It All." Some research indicates that the drums were played by Harry Stinson. A highlight of the CD is Bobby's duet with Patty Loveless on the title cut.

With no plans to retire, Bobby Osborne continues to cultivate his polished grassified country music. With sixty years of entertaining under his belt, his reputation and legacy only continue to grow. (Joe Ross)


title: ... and 1/2 ..... "Alt-grass" with fascination and intrigue

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Playing Time - 37:32

SONGS - Cain and Abel, Country Song, Busted, Betty Jane's Mule, Good Bye My Love, On My Mind, Just The Other Day, Don't Know If I'll Stand the Pain, Hey Senorita, Raleigh Dormin (Lament For Pete), Truly True

The music of the Greasy Beans is pretty slick, but I sure wish they would've lubricated their songs with a little fiddle or dobro also. If bands are going to choose a bluegrass format for their original acoustic music, then go all the way. Get down! Get glaborous! Now I have nothing against the fine, smooth picking of Josh Haddix (guitar), Charley Brophy (mandolin), Danny Barnes (banjo), and Keith Lowe (bass). I just hear their greasy music more enhanced with some hot, slippery resophonic guitar or slimy fiddle. Maybe they could've called on a former bean, Cailen Campbell on fiddle. Charles Brophey's old-timey instrumental "Betty Jane's Mule" just brays for this kind of embellishment. Although not credited as such, I wonder if that is Haddix and not Barnes who is frailing the banjo on this one as I understand that Josh is a pretty decent clawhammer banjo player.

While all the band members are credited with vocals, liner notes don't identify who is singing when. The most prominent lead singer displays plenty of melancholy. If you don't mind a few wavering notes, then solo songs like "Good Bye My Love" and "Truly True" are wistfuly expressive. Their gifted tunesmith friend, Scott McAleer, had a hand in writing these two, as well as three other, songs. Personally, I found more vocal radiance from the Greasy Beans in their carefully cultivated "On My Mind" and "Cain and Abel" with their straighter and narrower bluegrass sensibilities.  Jenny Benford also appears as a guest vocalist, my guess as a harmony singer on "Just the Other Day."

"Busted" is this touring band's third album, following their "Real Live Music" project that was engineered by Grammy-winning producer Bil VornDick. "Busted" was produced by Danny Barnes and recorded by Garey Shelton in Seatlle, Wa. The band's strength is their emphasis on original compositions. In the 2-chord opening ballad, "Cain and Abel," Cain kills Abel with a .44 gun. I could hear the Nashville Bluegrass Band covering a tune like that. At track three, the title number written by Ty Gilpin is a bluesy tale about wearing out the old highway to get one's baby back.

They also convey a type of vocalizing that is also kind of appealing as a result of its very lack of polish. The core of the band, Haddix and Brophey, have picked together for 12 years since they formed on the campus of Warren Wilson College. I enjoyed their breezy jaunts through midtempo arrangements that share guitar and mandolin passages. Spare setting can lend more immediacy to story songs like "Hey Senorita." Besides touring, the Greasy Beans have also performed several seasons of traditional music with ballet as part of Jean-Pierre Bonnefoux's "Under Southern Skies: An Exploration and Celebration of the South" in collaboration with North Carolina Dance Theater. Greasy Beans are prominently featured in a piece entitled "Shindig." Currently touring with Greasy Beans are Brad Hutchison (banjo) and David Brown (bass).

Greasy Beans might tell us that they want their music to be left more organic. But I would counter that it will be around longer, be more accessible, and make more of an impact with a few preservatives. The band from the mountains of Asheville, N.C. shows some clear potential, and I'd just like to see them package their music with some more coloring and spirited and rootsy old-time spunk. While they like taking bluegrass down roads less traveled, I think they're on to a good thing. Just as when they were matched with ballet, the band gives us an "alt-grass" product that presents considerable fascination and intrigue. (Joe Ross, staff writer, Bluegrass Now))


title: Larson has a lot of soul, creativity, talent, insight and spirit

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Playing Time - 40:57 -- After just reviewing a raucous live jamgrass offering from Yonder Mountain String Band, I chose Leah Larson's "Long Journey" for a little something more relaxing, comfortable, and soothing.  It's a great choice to leave a listener with a pleasant feeling of musical contentment. Leah has an affinity for moderate-tempo'ed songs, some accentuated with only solo voice, two-part harmonies or relatively lean instrumental accompaniment. Besides Leah's lyrical fiddling and evocatively appealing voice, there are some enchanting moods created by some impressively virtuosic guitar (Dale Adkins, Orville Johnson, Mike Marshall),  charged-up mandolin (Jeff Smith, Mike Marshall), eclectic fiddle (Laurie Lewis, Ron Stewart), powerful banjo (Ron Stewart), and  solidly-rendered bass (Dee Ann Davidschofer, Laurie Lewis, Todd Phillips).

"A Little Ways Down The Road" and "Long Journey" set the stage at the beginning of the album for Leah's easy-going and affable approach to her music that incorporates considerable elements of old-time, folk and bluegrass tradition. Chris Brashear's ¾-time "Sing Me A Song"  is a call for a tune that will perpetuate that lonesome state of mind. Larson sings and fiddles "Pretty Saro" with only Candy Goldman's banjo along for the ride, and she gives us a lovely version of Dolly Parton's "Crippled Bird" complemented only by Mike Marshall's guitar.  A fuller band also cooks when it steps up to the plate. "Sun's Gonna Shine In My Backdoor Someday" drives with a pedal to the metal, while the drive in Mark Knopfler's "Fare Thee Well Northumberland"  comes largely from Larson's inspired vocals and Orville Johnson's unique guitar stylings. Boston singer/songwriter Mark Simos wrote the thought-provoking "Dangerous Boys" which also demonstrates Leah Larson's fondness for poetic and imaginative songs.

Leah Larson has a strong traditional foundation, and she has a clear vision for her own expressive contemporary signature sound. Lonely, broken hearts mix nicely with timeless messages about home, courage, and optimism. Leah Larson has a lot of soul and creativity, and she associates herself with talented musicians who share her insight and spirit. (Joe Ross, staff writer, Bluegrass Now)


title: Upbeat character that's full of fun

text:
Playing Time - 29:50 -- Mike McCollum's "Just a Workin' Fool" has an upbeat character that's full of fun. The Aspen, Colorado songsmith and finger-style guitarist leaves us with some noteworthy lyrics and melodies. His affable baritone and relaxed phrasing give his songs a friendly charm, but it's hard to put your finger right on his genre of choice.

While he primarily uses bluegrass instrumentation, Jeff Taylor's accordion and certain vocal arrangements are more markedly pop, country, or folk on songs like "One Last Sad Embrace,"  "I'll Be Remembering You," and "She's Tender That Way." Mike describes these three songs as "Bluegrass meets the Fleetwoods," the amazing vocal trio from the 50s and 60s musical era. "Loving You Does Crazy Things to Me" is Mike's self-declared, humble bluegrass swing tribute to the fabulous Jordanaires. A strong 4/4 beat brings Mike's "Pretty Little Weather Girl" closest to bluegrass, this song being based on one of his best friends getting a job as a local T.V. weather reporter.

Thus, McCollum, along with his producer, Jeff White, has created a product that is distinctively himself and his own sound. He avoids any cookie-cutter formulaic approach to his bluegrass. Michael Cleveland's fiddling is exceptional, and the singers (Andrea Zonn, Dawn Sears, Terry Eldredge, and Jeff White) breathe life into the ten songs. Very smart and accomplished backup from guitarist Jeff White, mandolinist Troy Engle, and bassist Mike Bub round out the instrumental support. Based on his songs, I surmise that Mike McCollum has a very effervescent personality. The main reason that he now wants to share his songs is to simply help people feel good. I'll bet that Mike and his friends had lots of fun making this CD.

Originally from southern California, Mike grew up with an inherent and deep love of music. His mom was a church singer, and Mike very proudly proclaims that still at the age of 82 she is an accomplished pianist and director of a chorus called the "Swingin' Singin' Seniors." His uncle is folksinger Sam Hinton, who introduced a 15-year-old Mike to bluegrass at the Topanga Canyon Fiddle Contest. Despite his earlier involvement with rock and R&B bands, Mike now seems to prefer the pure rustic clarity offered by acoustic country. For quite some time, music took a lower priority in his life while he worked in various day jobs from painter to paralegal. In the early 1990s, he decided to re-energize himself into songwriting with hopes of getting others to record his compositions. Eventually he decided to just do them himself. His first CD, "Simple and Clear," enlisted the assistance of Cheryl White, Jeff White, Charles Whitstein, Catherine Styron, Bobby Clark, Terry Eldredge, and Hoot Hester.

Now, the sequel, "Just a Workin' Fool," builds on the first volume with an equally-impressive effort that continues to emphasize a "pure, unaffected country singing style." While more secular than his earlier release, "Just a Workin' Fool" continues to draw positive images on the aural canvas. "Pretty Little Weather Girl" and "I'm Just a Workin' Fool" are getting good national airplay as a result of being featured on "Prime Cuts of Bluegrass, Volume 73." Mike also performed two of his songs from "Just a Workin' Fool" at IBMA's World of Bluegrass Songwriter's Showcase in the fall of 2004. Mike very recently sponsored the "Workin' Fools Win-Win Songwriting Contest with the hope of encouraging and supporting fellow songwriters.  (Joe Ross, staff writer, Bluegrass Now)


title: Moving personal statements, rich in roots sensibility, down-home and good-time fun

text:
Total Playing Time - 34:11 -- If not available here, you might check at: [...]  Eight of the ten songs on Dread Clampitt's eponymously-titled debut album were written by guitarist Kyle Ogle and mandolinist Balder Saunders, who both also share lead vocal duties. Their first songwriting collaboration resulted in "Stars (over Walton County)," and they turn some interesting phrases in their moving personal statements, rich in roots sensibility. Rounding out this north Florida band that plays "reggae-bluegrass fusion" are Justin Lewis Price-Rees (fiddle, harmony vocals) and Duke Bardwell (acoustic bass guitar, harmony vocals). The band's name originated from a combination of Jed Clampett (from the Beverly Hillbillies) and dreadlocks, a hairdo common among certain reggae musicians.

Their contagious acoustic energy is presented without any self-consciousness. Saunders and Price-Rees share much of the spotlight with their proficient instrumental interplay, and their finest work is found at the third track, a song appropriately named "Dread Clampitt" that sets out their musical approach and objectives. "Dread Clampitt in the house, playing a soulful tune, Pickin' on the back porch, writin' in the living room, Dread Clampitt, we have a good time, Cause we don't care if we make a dime. You got to earn to make a living, You make a life by what you give, You may not believe in karma, But you can't receive unless you give." More lyrics are at [...]
The fiddle and mandolin also shine on Price-Rees' Dawg-like instrumental, "Walkabout" and the bass and guitar impart a powerful rhythmic intensity.

Some might find the numerous drug references in "Ridin' High" somewhat offensive, but the underlying message is to not give up on life. The song tells of Ogle's trip to Crested Butte, California and his reasons for returning to Florida. Thinking back to the 70s, you might remember a band called Cat Mother and the All-Night Newsboys. Dread Clampitt reminds me of them, and they even guest Franko "Washboard" Jackson with his instrument on "You Been Around [and I Need a Square]." Dread Clampitt closes their project with a snappy original that could become a jamgrass standard, "Ain't Got Nothin' but Love." A bonus track is an a capella gospel number that bids listeners a good night.

A song written by Saunders' uncle, Dwight "Potter" Brown, called "Crooked Island Sweetie" is a leisurely-paced rag that almost begs for some fingerpicked guitar. A unique companion book written by Balder Saunders' father and self-professed word mechanic, Jack Saunders, is called "Root Doctor." With its ginseng root on the cover, epigraph from W.B. Yeats, and strange mix of prose and poetry, the booklet includes a number of anecdotes about the band. Instead of rock-and-roll, says Saunders, "they play wrack-and-ruin." One of the band's plans for merchandise includes a line of BBQ grills with  blown-out wheels.

Besides trumpet and mandolin, Balder Saunders also can play bass. While in junior high, he was bassist with the Gillis Brothers, bluegrassers from Georgia. He's also played mandolin on his brother Owen's album, "12 Gauge Fiddle," and toured for one summer as mandolinist with the Gillis Brothers. After graduating first in his class at the John Philip Sousa School of Music in Norfolk, Virginia, Balder did a stint as a Marine bandsman. Prior to Dread Clampitt, Saunders played in the bands Back Azimuth, Net Ban'd, and The Florida Boys (which became The Flying Palmetto Brothers).

Kyle Ogle, another native Floridian, got his first guitar at age 15, taught himself to play, and joined The Hogtown Boys in Gainesville. Luthier Doug Jackson taught him to build and repair stringed instruments.

Justin Lewis Price-Rees started fiddle at age seven and is a three-time Australian National Bluegrass Fiddle Champion who has toured with Tom T. Hall, The Sundowners, Bush Band, and Murphy's Lore. He's also been a member of Southern Exposure, Rough Country, RCB Country, and Lonesome Whistle Band. He moved to the U.S. in 2001 to visit Georgia fiddler Max Tillman, whom he'd met in Australia.

Born in Baton Rouge, Duke Bardwell plays many styles of music and is acknowledged as Dread Clampitt's godfather. In 1960, Duke's first road experience was playing guitar, trumpet, and bass for Lenny Capello and the Dots. Then, The Greek Fountains had several regional hits and worked the college/club circuit for five years. After playing bass for folk artist Tom Rush, Duke formed Cold Grits and the Blackeyed Peas back in Baton Rouge. Duke moved to L. A. and joined friend Casey Kelly as an opening duo for Loggins and Messina for two years. Jose Feliciano's management company signed Duke as a singer-songwriter. The bassist also recorded and performed on TV with Jose. At one session with Jose, Duke befriended Ron Tutt, drummer with Elvis Presley. Elvis hired Duke to play bass with him in 1974 and 1975. Duke also toured with Gene Clark of The Byrds and did session work with Emmylou Harris.

Dread Clampitt's songs cover a gamut of personal life experience. The band has some impressive songwriters, and, because of their emphasis on original material, I wish the CD's jacket would've included lyrics.  Dread Clampitt's instrumental cohesion is another strength that pushes the acoustic envelope. Whether you want to categorize their songs as roots music, reggae-bluegrass, or wrack-and-ruin, it is simply down-home and good-time fun. Bluegrass purists will ignore this project, but it's got many strengths that will appeal to those with more adventurous tastes for an Austin-like Americana sound. Not an indisputable triumph, but certainly a very promising debut! (Joe Ross, staff writer, Bluegrass Now)


title: Acoustic country with Randy's smooth vocal delivery

text:
Playing Time - 48:57 -- Lendel Records is a new label created in 2003 to promote and serve the clients of Len Holsclaw's Lendel Agency, in business since l971, which was the sole management and booking agency for The Country Gentlemen from 1971-1998. The label's first album release showcases Charlie Waller's son, Randy, who was born in 1959 and grew up with the bluegrass music of his father. In 1963, Charlie made a promise to one day give his 1937 Martin D-28 guitar to his son. After Randy's graduation, he embarked on a solo career as a country musician and guitar teacher. It was on Christmas in 2002 that his father's guitar was passed on to the next generation. Randy's original song, "Daddy's Old Guitar," tells the story.

With this debut release, Randy returns to his bluegrass roots for the singer, songwriter and instrumentalist who is currently working with his father (since 2003) as a member of The Country Gentlemen. A short time after he started appearing with the group, fans started asking for an album that documents his impressive rendition of "Old Rugged Cross." Waller penned some originals for the project including "The Vision," "Little Red Shoes," and "Rough and Ready."  These three numbers demonstrate Waller's unique ability to successfully pen first-rate songs within the bluegrass gospel, western swing, and country genres.

Covers include Carl Jackson's "Love's Tombstone" and "Blue, Blue Morning" and "A Sad Song Don't Care Whose Heart it Breaks." and songs that were recorded by the Marshall Tucker Band ("This Ol' Cowboy") and Bonnie Raitt ("Give It Up or Let Me Go"). "This Ol' Cowboy" has a nice beat and catchy little riff. Randy's resonator guitar is a featured instrument on "The Ballad of Curtis Loew," a story of a young boy's friendship and respect for an old black dobro master who played the blues. Interestingly, that song also recently appeared on Larry Cordle's "Lonesome Skynyrd Time" project.

The accompanists include a number of present and former Country Gentlemen. Jimmy Gaudreau's mandolin and mandola are always a treat to hear. Eddie and Martha Adcock sing beautiful vocal harmonies. A friend from Randy's teenage years, Mike Moore, was enlisted to play bass. Sammy Shelor (Lonesome River Band) picks the five-string banjo, and well-known Nashville session fiddler Aubrey Haynie offers some hot licks and fills. Tim Austin engineered the project.

Randy Waller certainly doesn't sing with a high lonesome bluegrass sound. Instead, his full baritone gives a very smooth delivery that is equally comfortable with country, gospel, bluegrass and blues music. Randy's diverse instrumental and vocal abilities will open many doors for him. Closer to acoustic country than his father's hard-driving bluegrass, Randy Waller's sound is very relaxed and enjoyable. His voice even reminds me, at times, of a young Merle Haggard. That's the main reason why I really like this project. (Joe Ross, staff writer, Bluegrass Now)


title: Fine band on the leading edge of the bluegrass renaissance

text:
Playing Time: 37:33 -- With four expert pickers, three of them lead singers, and seven excellent newly composed numbers from David Coffey, the Virginia-based band, Phoenix, is back with another fantastic bluegrass project. The band is truly an up-and-coming group to keep your eyes on. Phoenix is David Coffey (guitar), Eddie King  (mandolin), Randy Driskill  (banjo), and Ronnie Davis (bass). Coffey, King and Driskill share the lead vocal duties, and a few more liner notes would've been nice to know who's singing when. While I think a tad bit of hot, tasteful guest fiddle would've enhanced this project, the instrumental and vocal work are strong, nicely-arranged, and well-blended. Although he's not credited in the liner notes, I believe it's Coffey who adds some resophonic guitar to "A Mother's Love." I like their mix of new, fresh originals combined with old jamming standards such as "Think of What You've Done," "This Morning at Nine," and "Wandering Boy" even though some may feel these classics have been over-done. Besides Driskill's crisp banjo, it is Coffey's songsmithing that really makes this album sparkle. Contemporary songs like "Angels in my Dreams," the title cut, and "You've Been So Good To Me" have the potential to become tomorrow's bluegrass standards. I hope these songs get wide distribution, airplay, and coverage by other artists.
"A Place Called Home" is the third CD release from this band that's been together for about five years (their other outstanding albums include "Rising From The Ashes" and "Blue Ridge Frame of Mind").  The band members, all Virginia born and bred, demonstrate considerable musical talent and skill. David Coffey is a multi-instrumentalist who has worked with Lew Dewitt, the Judds, George Jones, Patty Loveless, Keith Whitley and his own band, Virginia Blend. A little research shows that Phoenix's other members have been around too. Mandolinist Eddie King has played with Bluegrass Horizon, Harvest, Silvercreek, Bill Harrell and the Virginians, and he has filled in with Larry Sparks, J.D. Crowe, and Country Gentlemen.  Five-string player Randy Driskill has picked with Chief Powhatan, Harvest, Skyline Express, Alvin Breeden and the Virginia Cut-Ups and Lonesome River Band. Finally, bassman Ronnie Davis' first band was called "Allegheny," then he played with Alvin Breeden and the Virginia Cut-Ups, Sweetwater, Skyline Express, and the Country Gentlemen.
Phoenix was formed when four friends that grew up together decided to revive their music and work jointly and cooperatively as a unit. Building on their professional backgrounds, musical experience, and traditional roots, this renewal is turning some heads. These guys know how to put on a musical show, and they enjoy kicking back with friends and sharing stories and laughs too. With one foot in tradition and the other in the future, Phoenix is a fine band that has emerged on the leading edge of the renaissance in bluegrass music. (Joe Ross, staff writer, Bluegrass Now)


title: Dr Wu

text: Excellent Blues rocker from Texas.


title: Five Stars

text: Great music !!!


title: Five Stars

text: Fantastic album....what more can you say.


title: Good set, available for free download elsewhere.

text: A great set, however it's a direct to tape recording from the board, allowing no post production remixing.  This recording is available online for free, from many sources, particularly the Internet Archive.


title: Perfection

text: I got the reality version of this album. Not sure if I was suppose to get both versions but even so I am just grateful overall. I got the album in quick time, it came with no problems, no damages or anything. It was my first time ever buying an album so I was very excited. I have been a fan of so many artistes in the past and I always wanted to buy their albums but Shinee is just so dear and close to my heart I did my very best to buy this album and I was not disappointed. My bias is Minho and I was lucky enough to get his poster 😊 I also got a picture of him and Taemin (just love my 2Min), also got a photo card with Onew and that also made me happy. Sadly I only get to see Key when I open the photo book but still worth it. Really happy I made this purchase and I would definitely buy from this seller again. Shinee are awesome singers so please give their albums a lot of love 🙏🏾🙏🏾 Will definitely be buying more money f their albums because I want the ones with all 5 of them. Their vocals make the buy worth it and their visuals are the cherry on top 😌😌


title: Five Stars

text: Just as described.


title: Excelent

text: For my husband birthday gift


title: Five Stars

text: Love this so much.


title: Love this album

text: I had the original album when I was a child so I was so excited to find this in cd.  I spent many hours singing with this album as a kid and now as a professional singer I appreciate it even more. It brought tears to my eyes as I heard it again now almost 40 years old ( 25 years later)  It's a wonderful uplifting album of true Praise to our Lord Jesus.


title: Sweet Dreams

text: My children have been listening to this cd for many years at bedtime.  My oldest child is 12 and she still listens to it every night when she goes to bed.  All my kids love it!  I'm very particular about what my kids listen to at bed time and I haven't found a more soothing cd than this one.  It's scripture based and sounds like angels singing in the back ground.


title: Review

text: Love it


title: 50% drake.

text: Depends on how you like your Drake. This album is a collab with Future.  It isn't danceable like the newest single (hotline bling) and you can't pick up the beat as easily as you can with the majority of his last album ('if you're reading this..')  It feels like the remixes are remixed.<br /> Personally, I think Drake is great on his own and I had to skip around a bit to get away from future.


title: Five Stars

text: Product as described, fast shipment


title: Doesn't help patient be more assertive

text: Fear of Doctors CD.  I was very disappointed in this audio hypnosis tape.  I had purchased it because I have a lot of trouble being assertive with my PCP and other doctors.  I am afraid they will talk me into a pill or treatment that I don't need, and which will be harmful to my health.  This audio seems based on the idea that doctors are always right and all you have to do is put yourself in their hands, even if they aren't listening, or if they have been recruited by the pharmaceutical industry to push some current medical fad.  I wanted an audio program that would give me the courage to speak up and mention my reservations.  This one doesn't do that.


title: HELP !!!

text: I've been searching to find any solo CD by Andrew Strong and I've been unsuccessful.  Is there anyone out there that would be willing to sell me a copy of their Andrew Strong CD?  I already have both Committment CD's so I'm not referring to those.  I would like to purchase Andrew Strong's solo CD.  Any help would be greatly appreciated.  Thanks !!!  G. Gordon


title: Meh

text: Meh.


title: Quality Product

text: My Stepdaughter loved this album set. I was very impressed with the quality. The box itself is cute and sturdy. Glad I made the purchase.


title: Rockit_scientist_records

text: Order from the rock shop came in excellent condition basically new which is impressive for something that was pressed nearly 40 years ago.


title: Five Stars

text: GREAT ALBUM


title: Gift well received!

text: I got this to play in my car when I’m driving with and for my grandson who loves Imagine Dragons.  It was a big hit for him and I enjoyed the music as well!


title: Great! I listened to it 4 times in 24 hours!!

text: These tapes not only deliver results but they deliver fun in the process. Debbie Friedman really pacts these tapes with innovative, fun exercises that move you forward. I've listened to many tapes but she's included new exercises that help me move forward quickly. I enjoyed her tape on 'Gaining Freedom from Fear' so much that I've listened to it 4 times in the past 24 hours. Each time I listened to it I gained new insights.


title: Good.

text: Good.


title: all great

text: love every track on "On Every Street"  Mark Knopfler is fantastic


title: Totally Uplifting

text: This cd has amazing songs on it. It has totally uplifted me in a very dark time I've been going through.


title: Five Stars

text: Excellent music from an obviously intimate setting.  Thank you!


title: Thought provoking

text: Wish I had had this CD when working as a School Counselor:. I would have played the song for students to start conversation about how to treat others.  Would have been great for some teachers too! I find the words to the song come to mind when feel I have been meligned for being different.


Maybe I was being naive, but the sound track seemed very routine and I got bored. Not sure what I expected, but it as disappointing. Just seemed routine drag sounds. But it was a gift for my street-racing son and he hasn’t complained.


title: Finally found the album

text: The album was delivered in a timely manner.  It was unopened and in perfect condition.  I have wanted to find this for over 30 years.  It's nice to be able to play this on vinyl.


title: Everybody loves Harry.

text: Wonderful mellow CD. Harry never disappoints.


title: Five Stars

text: Amazing.


title: AWESOME!!

text:
Love the pictures and booklet that came with the package.
The package was in great condition and is super cute!

Thank you!


title: Excellent!

text: Excellent!  Kenneth E. Hagin always tells you what God tells you!  Yes!  It is Gods will for you to walk in health!


title: Amazing

text: Just, the best honestly. Top tier Christian Music. Can't wait to find a new one!!!!


title: Exactly as promised

text: This album is very funny and reflects Baltimore and Maryland Christmas quirky traditions. I was very happy to get a copy of this rapidly disappearing CD.


title: sturdy, would not use in rain or a wet ...

text: Bright, sturdy, would not use in rain or a wet environment without sealing the lens better.


title: Excellent product.

text: Delivered as promised. Excellent product.


title: A Just OK Representation of the '70s

text:
It's really hard to define this as being what it is labeled.  Seventies music, yes.  Ultimate Seventies collection, no.  You'll need many other CDs and/or boxed sets to have a decent library of what you may remember hearing on the radio back in the Seventies.

There is one somewhat major problem with this set and that is the volume of the individual tracks is all over the place, not even close to level volume from one track to the next.  Turn up the volume for one track and get blasted out of the room with the next track. A second problem is if you intend to rip these CDs for transfer to some sort of MP3 player you may run into TAG file issues depending upon the ripping program you use.  Some won't even see the TAG files or automatically find TAG files on the Internet, not sure what is up with that. Ran three different ripping programs and all had some issues with the TAG files. It appears nothing in the set was remastered, and some tracks appear to be MONO or at best being very poorly mixed. Whether the latter is an original recording problem or a problem with what Time-Life may have done is hard to say.

If you have a lot of time and a good music file editor you can get the issues more or less straightened out.


title: Five Stars

text: So great I give it to friends.


title: Five Stars

text: Really good album.  Love it!


title: Collectors

text: Bought for my son and he loved it.


title: Enjoy!

text: Beautiful voice to listen to, great music.


title: Four Stars

text: great talent


title: Genesis at their best.

text: Honestly, I haven't taken it out of my player since I got it. I know it can be viewed on YouTube but the fact is that the music is enjoyable. It showcases just how talented and unique this group was.


title: Pretty good album that is extremely hard to find

text: A bunch of cool chill jams for a sunny afternoon of sitting and sipping on some whiskey, my favorite of the bunch is My Mistake but none of it will disappoint. If you see a copy somewhere grab it, because you probably won't see another one.


title: The copy I got was signed by the artist!


title: This is NOT Iron Maiden.

text: Popped this in the player and immediatle went "something is wrong!" This sucks. Don't buy it. Did Maiden authorize this? Because once again, it sucks.


title: A wonderful gift

text: My (almost) 100 year-old aunt was lamenting not being able to listen to the (vynal) album (due to flood damage) so I replaced it with the CD. She's been dancing ever since.


title: The Voice and Superior Message

text: I was too young for his TV show, many of these recordings are said to be from that source.  It was the most popular segment of the show, people  wrote in, if you listen you’ll know why!  Stellar


title: Great work!!!!!!!!!!!!!

text: I bought the Kennedy Requiem in mp3 format and now I'm going to oder the real CD since it's already available!! It is amazing music: classical but modern, dynamic and fresh, touching and sincere!! It makes you think about something that you have in the depth of your soul, but usually you don't have enough time for it. The Kennedy Requiem gives you a real joy!! I love it!!


title: Sound

text: Good


title: Great music

text: Donald Fegan


title: In Da Streets

text: I'm really happy with the product and the availability of it.  It was a great item to have that I have been looking for a long time.


Like it a lot:) thank u


Thank u


Спасибо :))) thank u


title: Love it!

text: I love this CD. Nice, tight harmonies and beautiful singing, especially the lead singer. Nice variety of Sinatra tunes.


title: Five Stars

text: recommended by a friend.  Very helpful


title: Disappointed

text: This was a gift.  Though the recipient knew what to expect, he was ultimately disappointed.  It's best to relive these memories with YouTube.


title: Just JP

text:
I really love the album, JP play nice riffs and great solos, however i was expecting more from a axeman like JP (my top 3 guitarist). It sound to much like Dream Teather, some song can be included in a DT album. I think when guitarist go solo for a project they should give fans more of what makes them great with a twist of new things. Like Marty Friedman solo albums.

Dont get me wrong JP plays amazing here, its just i dont see  much inspiration. I found more solos with feeling in DT albums.


title: Picture disc in perfect condition!

text: Picture disc is beautiful & in perfect condition! Super fast shipping and well-protected packaging. Would not hesitate to purchase from this seller again.


title: Problem witn discs unable to listen to them..

text: Several of the disc have a problem and we are unable to listen to them.. We had bought several different old radio shows with  no problems and had just started to listen to this one; Would like a new set.


title: Five Stars

text: Every song on this is good.


title: Stink & Medicine

text: The first time I owned a copy of this album was in Vinyl in 1995 when it first came out.  In fact, I had 2 copies to DJ with.  It was one of the party/club hitters that you could play from time to time.  My favorite song was "Girls Anthem" by Rude Boy Kelly because of how it started.  You could litterally scratch it into a mix really well, and then rescratch it again with the other vinyl.  The good thing about the CD is that it comes with 4 extra tracks which include in the Medicine Riddim "Ghetto News" by Kezi.  On vinyl you would get that song if you bought a 45 and listened to the "Version" side.  It is a very awesome song.


title: Five Stars

text: good selection,


title: Five Stars

text: Great


title: Five Stars

text: 14 single of SKE48


title: Five Stars

text: 9th sIngle from SKE48


title: Five Stars

text: This is AKB48s 17th single


title: Five Stars

text: This is SKE48 11 single choco no dorei witch is translated into English is im a stave to chocolate


title: Five Stars

text: This their 18th sIngle


title: Five Stars

text: I before I got this i watch the movie first


title: The Ashes are GREAT

text: The Ashes met all my expectations.  For years I had been preparing my own from palm left over from last Palm Sunday.<br />But yours are so nice and fine they applied wonderfully.  Thanks and many Blessings,  Randy


title: Let the Good Times Roll!

text: I love these classic songs from my younger days and was delighted to get this CD for a good price. Delivery was prompt and the product was well-packed and in good condition.


title: Dakota Blonde rocks!!!

text: Great CD--my favorite of hers!!


title: Five Stars

text: I love this CD  so many good song


title: hapless dreck!

text: is there no bottom to this dude??  lacking, severely lacking!


title: feeble pap

text: sixties revivalists who can't write, sing, or perform in even a rudimentary attempt.


title: Surely you jest!!

text: This wankfest is the penultimate in comedy records, not excepting the recorded ouevre of Firesign Theatre. Oh, you mean they're not kidding, they want their philosophical diatribes to be taken seriously? Sorry, everytime I hear the pretentious musings in Drain Bamage, er, Brain Damage, I split a gut, can't suppress the laugh factor! Dark Side of the Moon wouldn't be so dark if it had been arranged like a ska album, with Don Rickles guesting on vocals. Laugh it up, funny boys!


title: This thrash metal classic brings back memories.

text: They did this album justice on the re-issue. The remaster brings a thrash classic back to life.  Also the bonus tracks from their previous 3 song demo tape makes it worthwhile. As a newly converted metal head in the late 80s, I bought the cassette in the Christian bookstore and was just Vengeance. It didn't occur to me how significant and historical this groundbreaking thrash album would become. The growly vocal style seems tame now, but was outrageous in it's day. It was ahead of it's time by 2 years, before the big death metal wave hit in the early 1990s.