Sea of Tears Review

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Sea of Tears ReviewOne of my favorite CDs of the year, just a notch behind Jenny Lewis' "Acid Tongue." For musical details, I concur with the review by Colin Spence. I also concur with his evaluation of 4 and 1/2 stars but gave the CD five stars to balance out the Amazon tab. Jewell's music is very unlikely to reach mass media saturation (which is good) but it has already (and rather quickly) become popular with radio stations featuring an Americana format (which is also good since it will allow her to make a living, keep her superb band together and record more music in the future). It's not only difficult but also rather foolish to try to compete with a definitive cover version by The Who in their prime (i.e. Live At Leeds. I was so taken by Jewell's take on "Shakin' All Over" that I heard by chance on internet radio, however, that I made a point of finding out the performer and then buying the CD without bothering to listen to any other tracks. Because the CD as a whole is so likeable from the very first listen, this is a great CD to give as a gift to friends who enjoy hearing "undiscovered" musicians.Sea of Tears OverviewThe third record from Boise-ID singer-songwriter Eilen Jewell's Sea of Tears evokes the era of classic country and early British-invasion era blues rock .On her third album Eilen Jewellis more Dusty Springfield than Gillian Welch. Sea of Tears finds Jewell acknowledging her electric influences and the roots of rock and roll on the album's twelve tracks. On the record she pays homage to British invasion of the sixties, bands like The Kinks and The Animals; her forlorn, yet confident, delivery matches slow rock and resonant guitar sounds throughout the record. Although nine of the tracks are Jewell originals, the entire album could easily have been recorded over forty years earlier. Sea of Tears has a smooth sliding pace that is punctuated by a chill of sharp guitar and the tone can be summarized in the words of "Shakin' All Over." In the track, a cover of Johnny Kidd & The Pirates' recording, Jewell expertly explains the album's sound in the lyrics, "Quivers down the back bone...shakin' all over." The slow syncopation on the record hits the listener like ice water on a hot sunny day, unexpected but appreciated.

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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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Neck & Neck Review

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Neck & Neck ReviewThis album from these two masters of guitar fingerpicking will leave anyone who loves the guitar, country, blues, or melodic rock delighted. I have been a Mark Knopfler fan since early Dire Straits, and learned about Chet Atkins from Mark. Anybody Mark thinks is great is definitely worth a listen. I became a Chet Atkins fan a bit late in life, and this album was a big part of that.
This CD shines precisely because it is not flashy or showy; rather it is imbued with craftsmanship and quality musicianship in every bar. The whole album is strong, but I am especially fond of "There'll Be Some Changes Made" in which Chet and Mark trade good humored jabs about their musical heritage, "I'll See You in My Dreams", a mastercrafted classic, and the laid back "Tahitian Skies." Throughout the CD the vocals are relaxed and effortless, and although Knopfler has an appealing if somewhat gravelly voice, Atkins is a little more atonal and wavering in his singing style. Of course the focus here is not vocal performances, but guitar virtuosity, and that is abundant.
This is a CD that will be appreciated by all guitarists who grasp how truly difficult it is to produce a recording this melodious and synchronized, regardless of how easy these two masters make it look. "Neck & Neck" is highly recommended.
Neck & Neck OverviewVinyl Classics reissue of this 1990 album by the guitar legend and the Dire Straits leader comes as a vinyl look-a-like CD that's packaged in a die-cut see-through slipcase. Sony.--This text refers to an out of print or unavailable edition of this title.

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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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