Dueling Banjos From The Original Soundtrack: Deliverance Review

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Dueling Banjos From The Original Soundtrack: Deliverance ReviewWonderful, exhilarating, breathtaking music, both in speed and execution. Banjoist Eric Weissberg has spent most of his career in relative obscurity as a studio musician, which is a shame as he is one of the finest banjo players to ever pick up the instrument. City born and musically educated at the University of Wisconsin and Juilliard, Weissberg was a seminal banjo picker who combined the power and taste of Earl Scruggs along with the progressive melodic banjo stylings of the 1960s.
Obviously, the album features the definitive version of "Dueling Banjos" that Weissberg recorded with Steve Mandel. The rest of the tracks come from an incredible album called "New Dimensions in Banjo and Bluegrass," released by Elektra in 1963. Most of the tracks feature brilliant dual arrangments between Weissberg and Marshall Brickman, a banjoist who left the music world behind to write movies for Hollywood (The Bad News Bears, co-writer for Annie Hall). They are backed by guitar legend, Clarence White, who creates beautiful backup runs on songs like "Pony Express" and fine solos throughout. I think the fiddler was Gordon Terry, whose atmospheric style on "Reuben's Train" will make your hair stand on end.
The album is loaded with famous and oft-copied banjo licks, including the descending single-string work on Little Maggie, the "bumblebee break" on an insane version of "Shucking the Corn," the C-F-E-C chord sequence on "Riding the Waves," and some of the fastest (and cleanest) banjo work you'll ever hear anywhere on songs like Rawhide and Hard, 'Aint it Hard.
If you do not already own this CD, BUY IT. And if anyone in the music business is listening, you need to scrape up some money and produce a dozen more acoustic albums by Weissberg and Brickman. These guys deserve more of a legacy than a single album!Dueling Banjos From The Original Soundtrack: Deliverance Overview

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Cordelia's Dad Review

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Cordelia's Dad ReviewCordelia's Dad's first, eponymous album hints at the future direction of the band -- away from the electric, punk-fueled treatment of traditional songs and towards serious, non-ironic, traditional folk music performed sparsely on traditional instruments. And despite how their other albums are hauntingly good, this album captures raw, youthful energy of people discovering their raison d'etre. Here you will find energetic, electric, melodic-punk romps of songs up to hundreds of years old. The result is brilliant.
Lounge lizard guitar/bass treatment in "Loch Lomond" the redemption of "Scarborough Fair", the rollicking "Maui", throat-scraping stylings of "My Pretty Little Pink," the "Baby Song" could be a cover of DOA, for crying out loud...
The liner notes on all the 'Dad albums are good, but my favorite observation is on this one: "All these songs are about death, except for one, which is about going to Hawaii."
Folk music enthusiasts should perhaps pass up this album in favor of the later Cordelia's Dad albums "Comet" and "Spine" which have very traditional folk music and shape note singing. But punk enthusiasts looking for something beyond two minute crashes through sex, drugs, violence, 'n' politics should hear this band, and this is the album for them. Because this is sex, drugs, violence, 'n' politics BEFORE it got all lamed out in the twentieth century. This is a band which can really expand your horizons. Four stars because "How Can I Sleep", their second album, had to have five. Finally, contact the band directly to buy the albums -- they won't be printed again any time soon.Cordelia's Dad Overview

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Lefty's Old Guitar Review

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Lefty's Old Guitar ReviewPlaying Time - 34:10 -- From Kentucky, J.D. Crowe began his career as a member of Mac Wiseman's band in 1955. Thus, "Lefty's Old Guitar" is also somewhat of a half century celebratory milestone for J.D. After an early stint with Jimmy Martin, he formed his own group in 1968, The Kentucky Mountain Boys (with Doyle Lawson and Red Allen). The New South first took the stage in 1974 with Tony Rice, Ricky Skaggs and Jerry Douglas. Abut 2002, Rounder Records re-released "My Home Ain't in the Hall of Fame" (the band's seminal 1978 album). Over the years, band alumni have included Keith Whitley, Jimmy Gaudreau, Paul Adkins, Wendy Miller, Gene Johnson (Diamond Rio), Tony King (Brooks and Dunn), and many others. In 1999, J.D. and The New South put out the album "Come on Down to My World," that introduced us to Dwight McCall's singing and mandolin playing. A year later, however, some of their bandmates left to form another stellar group, Wildfire. That 1999 album was the band's last studio album until "Lefty's Old Guitar" hit the mark.
Today, the award-winning banjo player's band is comprised of some masterful pickers and singers - Dwight McCall (mandolin, vocals), Rickey Wasson (guitar, vocals), Ron Stewart (fiddle), and Harold Nixon (bass). Crowe, of course, also typically sings a baritone harmony in choruses. Their vocal blends are resonant, full of joy or sung with pathos, when needed. For their highest, lonesomest sound, check out "She Knows When You're On My Mind Again," that lays in Cia Cherryholmes' high baritone harmony on the very top. While Wasson does most of the lead vocalizing on "Lefty's Old Guitar," McCall's sumptuous high voice belts out the verses' lyrics on his own self-penned "I Only Wish You Knew," Larry Sparks' "Just Loving You," and Cindy Walker's "Blue Bonnet Lane."
Their contemporary repertoire is arranged with shared breaks and crafty instrumental fills. "Lefty's Old Guitar" has been a long time, about seven years, in coming. I guess that the band and record label felt that the current personnel had now solidified into a very cohesive unit of impeccability. Crowe has always been astute about incorporating some country feeling into his music. Doug Jernigan's pedal steel on two cuts doesn't bother me, and I appreciate their not feeling a need to put drums or percussion into the mix. Other producers (usually Nashville-based) feel that `power' bluegrass music needs drums to present commercial, radio-friendly fare. J.D. Crowe proves that it just ain't so! One thing I did find missing from their successful formula, however, would be a hard-driving barnburner that really challenges the instrumental picking and bowing prowess of highly regarded award winners like Ronnie Stewart. However, the set still provides some eclectic ups and downs in tempos for songs that are as sure to become as classic and influential as some of J.D. Crowe's seminal works. (Joe Ross, staff writer, Bluegrass Now)
Lefty's Old Guitar OverviewNo Description Available.Genre: BluegrassMedia Format: Compact DiskRating: Release Date: 10-OCT-2006

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Jingle All the Way Review

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Jingle All the Way ReviewThe Flecktones have always been known for incredible instrumental abilities and challenging arrangements. By recording a holiday collection, they have made their music more accessible without sacrificing technique. This is also an incredibly diverse collection: I find that there are songs I can't stop listening to, some I enjoy greatly, and some that are fine (as well as one that is terrible--I can tolerate Tuvan throat singing as a texture, not as the primary instrument as it is on the Jingle Bells reprise).
"Jingle Bells" has quite a bit of throat singing, but the chromatic bass line is what really makes this different and interesting. Similarly, "Silent Night" has enough alternate chords and a driving rhythm to make a well-known carol new and unusual. "Sleigh Ride" is the first song that I find incredible--Bela starts it with a common opening banjo-lick (think "Foggy Mountain Breakdown"), that tears into a series of single-line runs that are astonishing in their fluidity. Jeff matches this on the sax later in the song, all of which is propelled by Vic and Futureman's astonishing groove. Vic's solo includes a quote from "The Wizard of Oz," and during the instrumental breakdown he begins a "Rudolph" quote that the rest of the band picks up on. Astonishing musicianship; any question that these guys love playing together?
The next song is a stunningly gorgeous solo bass rendition of "The Christmas Song." Vic shows the full potential of the bass as a solo instrument with high chords over a resonating low tone that is full and beautiful. "12 Days" is another favorite, with the band tackling a different meter and key with each day. How they stay together through 12 key and tempo changes at the end is astonishing to hear (props to special guests Andy Statman and Edgar Meyer, here and on other songs). The fact that this is bookended with a Bach oratorio demonstrates the range of these musicians: classical banjo (think "Perpetual Motion") with a sax counterpoint, quarter-notes on the bass driving it along; yes, it's a classical piece, but a fully modern arrangement.
The Peanuts songs are next; from the other reviews, these are clearly favorites, though I found little unusual about the arrangements, perhaps because they were jazz pieces to begin with. The Jingle Bells reprise, as I mentioned, is the one song I never listen to. The Hanukkah Waltz is good, Sugar Plum fairies has some astonishing banjo runs which are then duplicated on bass. "What Child is This" is my absolute favorite: more Tuvan throat singing, but it perfectly fits the mood and feel of Dyngyldai: this song has the heaviest groove I've heard in a long time, and when it takes off the power is overwhelming.
"O Come" is a nice, slow mandolin/string bass duet that is unremarkable. The medley is interesting, then the band has a blast with "Have Yourself a Merry Little Christmas." Vic and Futureman start the groove, everyone else joins in, you hear the count-off, then there is a fantastic definition of the melody, with all the instruments trading off single notes. I first heard this idea on the "Strength in Numbers" CD, and am still always amazed when it happens. This is the band having their last blast.
"River" is solo Bela, playing piano and banjo simultaneously. The fact that it is simultaneous is an unnecessary gimmick: the arrangement is beautiful and perfect.
My point in this review: the musicianship is incredible and the songs are varied. Chances are you'll find something you love, even if you don't love the entire collection.Jingle All the Way Overview

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The Three Pickers Review

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The Three Pickers ReviewEarl Scruggs, Doc Watson and Ricky Skaggs team up on what has to be as good as bluegrass music gets. You will play this one again and again. This hauntingly beautiful CD reminded me once again that most of the so-called music coming out of Nashville today masquerading as "country" and/or "bluegrass" is pure (junk). No tight jeans and cowboy hats here. Just first class music.
The pickers play a lot of older songs: "What Would You Give In Exchange For Your Soul," "Who Will Sing For Me," "Soldier's Joy," "The Storms Are On The Ocean," "Foggy Mountain Top," "Roll In My Sweet Baby's Arms." These men are as good as pickers get. Having Alison Krauss join them on some of the cuts only makes this CD better.
Difficult as it is to pick a favorite, I would probably vote for "Down In The Valley To Pray." Doc Watson begins this hymn, as simple and pure as your grandmother's pound cake, and is then joined by the voices of Skaggs and Scruggs, along with Krauss, in an a capella arrangement that will send chills down your spine. You are immediately carried back to a one-room church 50 or 60 years ago. The songleader began a hymn and then one by one, the congregation joined in while mothers fanned their babies with funeral home fans. Even though it never was, we thought life was much simpler then.The Three Pickers OverviewNo Description Available.Genre: BluegrassMedia Format: Compact DiskRating: Release Date: 15-JUL-2003

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The Bluegrass Guitar Collection Review

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The Bluegrass Guitar Collection ReviewTony Rice is the greatest acoustic guitarist I've ever heard. His right hand knows what the left hand is doing. The tone and balance in his style haven't been equaled although every flatpicker after him owes him a debt of gratitude. The tunes are fiddle toons for the most part with a fantastic supporting cast which has been the norm for Tony throughout his recording history. This is a great collection spaning much of his career.
The collection showcases the fine instrument the man plays as well. I first heard and saw this guitar in person about 25 years ago and it sounds even better today. It's as legendary as the current owner. The instrument was obscure for it's first 25 years. Then it was purchased in 1960 for Clarence White by his father for a mere $35. Tony Rice purchased it in 1975. The 1935 Martin D28 is the finest guitar of it's kind in the world. And it's no accident that Tony Rice owns and plays it.
kcoynerThe Bluegrass Guitar Collection Overview

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