Braeden Paul, Author at Bluegrass Today

Blue Collar Gospel: From the Pen of Rick Lang

With over 125 songs having been recorded by everyone from Russell Moore & IIIrd Tyme Out to the Larry Stephenson Band, New Hampshire native Rick Lang has become one of bluegrass music’s most prolific songwriters. Blue Collar Gospel: From the Pen of Rick Lang on Billy Blue Records is the follow up to 2018’s Gonna Sing, Gonna Shout. Following the same formula as the previous release, this project features Lang’s compositions performed by numerous artists in the bluegrass and gospel genres.

The title track, Blue Collar Gospel, is performed by the album’s producer, Jerry Salley, along with the legendary Oak Ridge Boys. Cowritten by Lang and Salley, this song tells a wonderful story about an honest working man who heeds the call to preach God’s word. This track is somewhat bittersweet as it features tenor vocals from Joe Bonsall in one of his final recorded performances. As with all eleven songs on this project, the instrumental ensemble consists of Jason Roller on guitar and fiddle, Justin Moses on mandolin and resonator guitar, Aaron McDaris on banjo, and Jeff Partin on bass.

Old Rugged Me by Lang, Mike Richards, and Tim Webb, features Dave Adkins with Salley and Alecia Nugent. Telling the story of a man who takes a long journey to find his way to the Lord, Dave Adkins delivers a compelling performance on this track.

Just Beyond is one of the album’s ultimate highlights. Featuring Barry Abernathy with John Meador, Tim Raybon, and Bradley Walker, this song pairs four incredibly powerful vocalists, making for an unforgettable and emotional performance.

Everyday Blessings features Daryl Mosley and Jaelee Roberts. Cowritten with Mosley, this song talks of finding peace and joy in the simple pleasures that God gives us every day.

The Truth, The Light, The Way, featuring Darin and Brooke Aldridge, was cowritten with Jim and Lynna Woosley. With a catchy rhythmic groove, Darin and Brooke deliver a great message about who God is, and what He can do for us.

The closing track, On The Tips of Angels’ Wings, is especially intriguing. Cowritten with Becky Buller, this track featuring Alecia Nugent has commanding vocal harmony from Ben James and Jerry Salley. This performance in particular demonstrates the depth of James’ tenor vocals.

With eleven songs cowritten by a gifted songwriter, combined with first rate talent in the bluegrass realm, Blue Collar Gospel: From the Pen of Rick Lang is a release that shouldn’t be missed.

We Still Can’t Say Goodbye: A Musicians’ Tribute to Chet Atkins

With his influential guitar playing and producer’s touch on an uncountable number of classic country recordings, Chet Atkins without question holds an important place in the history of American music. Though he passed two decades ago, Atkins’ influence on musicians continues to reach far and wide. Carl Jackson, who has produced tribute albums to the Louvin Brothers and Gram Parsons among others, felt it was time for a proper salute to the man referred to as Mr. Guitar. We Still Can’t Say Goodbye: A Musicians’ Tribute to Chet Atkins does exactly that, with a myriad of instrumentalists and vocalists putting their stamp on some of Atkins’ most distinctive material.

The album opens appropriately with Mr. Guitar. First recorded by Atkins in April 1955, this rendition featuring Tommy Emmanuel and Michael Cleveland is a wonderful piece that allows both of these master musicians to complement each other and add their individual stamp. Along with Emmanuel and Cleveland, this track also includes Tony Creasman on drums and percussion and Kevin Grantt on bass. Both of these players make up part of the core cast of backing musicians.

So Sad (To Watch Love Go Bad) was written by Don Everly and recorded by the Everly Brothers in 1960. Featuring Vince Gill and Bradley Walker on vocals, this is the perfect song for these gentlemen to sing together. Add to that some powerful guitar work from Eric Clapton, steel guitar from Mike Johnson, and smooth harmony vocals from Jackson. It’s a truly memorable track.

Yakety Axe was one of Chet’s signature pieces. Here it’s played by Ricky Skaggs, who does a masterful job rendering it on the acoustic guitar. Charlie McCoy adds harmonica to this track as well, which is appropriate considering what he provided to so many hallmark country recordings of the 1960s and beyond. Catherine Marx also appears here playing piano as she does on several other songs.

Sleepwalk recorded by Atkins in 1960 is performed here as a dobro and guitar duet by Jerry Douglas and Bryan Sutton. With just Dennis Crouch providing bass alongside Douglas and Sutton, this minimalist instrumentation allows the listener to fully soak in the beautiful elements of this tune.

How’s The World Treating You, performed by James Taylor and Alison Krauss, is a track that was previously released on Livin’, Lovin’ Losin: Songs of the Louvin Brothers in 2003. Though some may find this reissue unnecessary, its inclusion here is well merited. Not only do Krauss and Taylor deliver an enthralling vocal performance, but Carl Jackson provides some excellent guitar playing as well.

All I Ever Need Is You was recorded by Atkins along with Jerry Reed in 1972. Here it’s performed by Sierra Hull, who brings a true sense of energy to this track. While most are familiar with Hull as a mandolinist, this track displays her excellent sensibilities on the guitar.

The title track, I Still Can’t Say Goodbye, is performed by Vince Gill. Delivering an emotional performance, this piece encapsulates the importance that Chet holds for so many, and the mission of Carl Jackson with this project. This song also includes a beautiful string section consisting of David Davidson and David Angell on violins, Kristin Wilkinson on viola, and Carole Rabinowitz on cello.

This project concludes with a rendition of the instrumental chestnut, Freight Train. Featuring virtually every guitarist that performed on this recording, this track does a wonderful job highlighting each player and their stylistic approach on the instrument.

We Still Can’t Say Goodbye is an enthralling release. As Carl Jackson says in the album’s liner notes, “Chester B. Atkins was a hero and inspiration to every one of us ‘pickers’ across all genres.” That influence comes through loud and clear on every note that’s played and sung on this recording. It’s one that Chet himself would be proud of.

Something He Can Handle – Michael Prewitt

Though Michael Prewitt has become primarily known over the last few years as a hard hitting traditional bluegrass mandolinist, his latest release, Something He Can Handle, shows us an entirely different side of his artistry. With seven of the ten tracks penned by Prewitt, this album is filled with familiar, evocative themes of leaving home, the ups and downs and love, and feelings of sheer loneliness.

The opening track, Dark Clouds on the Cumberland, tells the story of a man that was raised by a father working in the coal mines. Written by Will Sears, this track does not only a wonderful job of telling a compelling story, it also introduces us to the album’s core cast. Along with Prewitt on mandolin, guitar, and vocals, this ensemble consists of Aaron Bibelhauser on guitar, dobro and harmony vocals, Jeff Guernsey on fiddle, Brady Wallen on banjo and guitar, and Dan Eubanks on bass.

Son of 2 a.m. is the first of Michael’s originals to be featured. It’s a song that fully encapsulates the feelings of loneliness and mental survival. Like all of the original pieces, Prewitt does a remarkable job portraying the story’s central character and the reality they’re facing.

A whimsical swing piece, Put The Bottle Down is about the pitfalls of alcoholism. The instrumentalism on this track really shines with Dan Eubanks particularly standing out on his bass solo.

The true highlights of this release are the tracks that feature only Michael’s voice and a guitar or two. Winnipeg is a brilliant example of this. Written about the turn of the century Bonanza Farms in the Red River Valley, this piece has a feel that’s reminiscent of Norman Blake’s early recordings. Boulevard of Regret is also an excellent example of this style of accompaniment. With a flavor akin to Willie Nelson, this song serves as a metaphor for one’s shortcomings and regrets.

Just the Other Side of Nowhere comes from the pen of Kris Kristofferson. With just mandolin and guitar providing instrumental backing, Prewitt does a stellar job of delivering this narrative about longing to be somewhere where you don’t feel lonely.

Something He Can Handle is a brilliant effort. Along with being a first rate musician, Michael Prewitt is a phenomenal lyricist and interpreter of songs written by others. This is an album that will especially appeal to those who love the elegant work of singer/songwriters. It’s a project that holds great depth and leaves us wanting more in the best way possible.

Far Away With You – Woody Platt

With the combination of self-reflection during the COVID pandemic and his departure from the GRAMMY-winning Steep Canyon Rangers, Woody Platt set out to begin the next phase of his musical journey. His debut solo album, Far Away With You, marks the beginning of this chapter, with brilliant originality and memorable performances all throughout.

The opening track, Like The Rain Does, is a song that makes clever use of similes and metaphors to describe one’s joyful, peaceful state within the relationship they share with another. Written by Cody Hale, this track features strong vocals from Platt and Buddy Melton as well as fantastic instrumental backing from Jerry Douglas on dobro, Rob McCoury on banjo, Jason Carter on fiddle, Barry Bales on bass, and Daren Shumaker on mandolin.

The following track, Toe The Line, follows a similar metaphorical approach like the previous song. Written by Barrett Davis and Josh Carter, this piece speaks of one wanting to return to the person they love. Featuring Tim O’Brien on harmony vocals, this track also includes Bales on bass, Shumaker on mandolin, Casey Driessen on fiddle, and Bennett Sullivan on banjo.

Broke Down Engine comes from Piedmont blues singer, Blind Willie McTell. Here it is given a solidified bluegrass treatment with a powerful vocal performance from Del McCoury. Along with Platt and McCoury, the track also features Bales, Shumaker, Sullivan, and Bryan Sutton on guitar.

Long Time Coming, by Jesse James Langlais, is another straight-ahead bluegrass song which speaks of yearning for the partner they had, and the life they shared in the past. Appropriately, this selection features the same supporting cast as the album’s opening track.

One Last Goodbye, by Barry Bales and Chris Stapleton, captures the suspicion and mental preparation of a romantic relationship coming to an end. Platt and Buddy Melton’s vocals on this track carry the precise quantity of emotion for the listener to fully engage.

Far Away With You is a strong release. The selections on this recording are not only original, but are drawn from a wide array of writers. Combined with a great variety of guest vocalists and backing musicians, there isn’t a “skip worthy” track to be found here. Every song has its rightful place on this project. It’s a captivating statement from Woody Platt in this new stage of his musical career.

Home In My Heart – Compton & Newberry

While Mike Compton and Joe Newberry have each made individual contributions to the traditional acoustic landscape, the music they make together provides a thrilling combination of old time, early country, and blues flavors. Their latest offering, Home In My Heart, their first for Engelhardt Music Group, captures this special blend with eleven tracks from varied musical sources.

The opening track, Careless Love, brings this recording to a haunting start. Newberry’s lead vocal and clawhammer banjo work, combined with Compton’s playing on the mandola, gives this tried and true piece just the right captivating edge. One can’t help but be drawn in immediately.

Sweet Shadows, written by Newberry and John Lowell, is a beautiful, sentimental piece about the passage of time, and how one can see themselves within the photographs of family members from years before.

New Five Cents is one of a few instrumentals on this project that demonstrate just how well Compton & Newberry play off of each other. Newberry provides subtle backing on the banjo that doesn’t overshadow Compton’s statement of the tune’s melody.

Benny Martin’s Silvertone Blues is a whimsical song about the mail order guitars that many musicians learned to play on. This piece allows Compton to shine both vocally and instrumentally, as its blues arrangement is right at home for him.

Cherry River Line is a haunting, sad lament about a laboring man who’s heartbroken over the departure of the one he truly loves. Newberry once again brings an exceptional performance vocally, conveying the story in a gripping, compelling manner.

The title track, Home In My Heart, written by Compton and Newberry, is a positive uplifting song about finding home not within a physical place, but within an internal space. It’s an excellent contrast to the aforementioned track, as well as The Vacant Chair, which tells the tale of a man coming to grips with the loss of his significant other.

Home In My Heart is a strong example of the wonderful collaborative spirit that Compton & Newberry have with each other. Whether it be a traditional tune or an original piece, Mike and Joe perform these eleven tracks in an enchanting and mesmerizing fashion.

Restless – Adam McIntosh

Adam McIntosh is a name that should be familiar to most bluegrass fans. Through stints with artists such as Dry Branch Fire Squad and currently as a member of Joe Mullins & The Radio Ramblers, he’s gained a sterling reputation for his smooth vocals and guitar work. Restless, on Billy Blue Records, is McIntosh’s debut solo album, one that gives a more precise look at his talents as a vocalist and instrumentalist.

Baby You Ain’t Baby Anymore, by Jerry Salley and Jenee Fleenor, gets the album off to a driving start. This is one of several tracks where Adam sings all of the vocal harmonies. Alongside Adam on guitar and bass is Ned Luberecki on banjo, Mitch Meadors on mandolin, and Jason Barie on fiddle, who contributed to all thirteen tracks.

The title track, Restless, is a grassed up rendition of a song written and first recorded by rock and roll pioneer, Carl Perkins, in 1968. Adam’s vocal harmonies give this piece just the right feel. It should be noted that McIntosh plays the majority of the instruments on this and several other tracks, all at a very high level. This song in particular is a prime example of his instrumental virtuosity. The only instrument not played by McIntosh on this song is banjo, which is performed by Scott Vestal.

Although Girl Behind the Bar is primarily known to listeners as a Stanley Brothers song, it wouldn’t be surprising if some connect it with Adam’s tenure in the Dry Branch Fire Squad, who made it a primary part of their performances after recording it in 1993. Here McIntosh gives this dark tale a contemporary feel with strong tenor vocals by Jesse Smathers and stout banjo playing from Ron Stewart.

Eat, Drink and Be Merry (Tomorrow You’ll Cry), by Celia and Sandra Ferguson, is a sad lament first recorded by country singer Porter Wagoner in 1954. Fittingly, this track features Don Rigsby on tenor vocals, who gives this piece just the right amount of emotion with his performance. Ned Luberecki once again contributes banjo to this track.

Peaceful Easy Feeling is a true classic. McIntosh’s treatment of this Eagles standard is notably well executed, with wonderful harmony vocals from his sister, Angie McIntosh Lewis. Like other tracks, Adam plays banjo, mandolin, guitar, and bass, while Jason Barie plays fiddle and Mike Rogers provides percussion.

The highlight of this entire recording is Adam’s rendition of Touch of God’s Hand by Bob Nolan. Featuring Jesse Smathers and John Meador on harmony vocals, this is one of those performances that will make the hair stand up on the back of your neck. Also on this track is Evan Lanier, who appears here playing banjo.

The project closes with the gospel acapella quartet, Higher Than I. With Adam on lead and baritone vocals, Mike Rogers sings tenor along with Dale Perry, who provides thunderous bass singing. It’s hard to imagine this album ending in any other way.

Restless is a stellar release from start to finish. Along with its excellent song selection, this release truly encapsulates Adam McIntosh’s prowess, both vocally and instrumentally.

Highway Prayers – Billy Strings

Just two months after the release of his first live effort, Live Vol. 1, Billy Strings has graced us with another studio recording, his first since 2022’s Grammy-nominated Me/And/Dad. Highway Prayers is a 20 song collection featuring a broad spectrum of musical ideas.

Leanin’ on a Travelin’ Song by Strings and Thomm Jutz gets the album off to a mesmerizing start. Performed in a hardcore traditional bluegrass vein, this song talks of the tedious and arduous journey one has to take to reach their destination. Along with support from Strings’ band, consisting of Billy Failing on banjo and vocals, Royal Masat on bass and vocals, Jarrod Walker on mandolin and vocals, and Alex Hargreaves on fiddle, this track also features stellar vocal work from Lindsay Lou and stout fiddling from Jason Carter, who plays harmony alongside Hargreaves.

Escanaba is the first of three instrumentals on this recording. This piece, along with Seney Stretch, provides an even greater glimpse of Strings’ prowess as a lead guitarist, right alongside the instrumentalism of his core band.

Gild the Lily by Strings and mandolinist Jarrod Walker, falls into somewhat of the folk realm with its symbolic lyrics about nature, combined with the smooth vocal harmonies from Strings and his bandmates.

Seven Weeks In County by Strings and Aaron Allen is one of a few examples of Billy’ ability to effectively tell a story through song. In this instance we’re hearing about a man who’s preparing to spend time in prison for the wrongs he’s done. As we find out in the lyrics, this prison sentence serves as somewhat of a safe haven for the narrator as he explains, “my only enemy is out to get me, to make me pay for what I’ve done.”

Another example of Strings’ storytelling ability is the solo piece, Catch and Release, also written by Strings and Allen with Jon Weisberger. This song tells a humorous tale of going on a fishing trip and hitting a few snags along the way, among them a run-in with local law enforcement.

A little more out there in terms of its lyricism and instrumental arrangement is Stratosphere Blues/I Believe In You, but it nonetheless fits perfectly within Billy Strings’ repertoire. It features fine guest cello work from Nathaniel Smith, and fitting percussion from producer Jon Brion.

Cabin Song is far and away the most traditional bluegrass song on the project. This is another one of those performances that proves that Billy hasn’t forgotten where he came from. He has honored his roots with this excellent original piece.

Another traditionally-oriented track is It Ain’t Before by Strings and Thomm Jutz, one that’s rooted instead in old time music. This is made most clear by the clawhammer banjo of Victor Furtado and the harmonica and jaw harp of Peter “Madcat” Ruth.

Leadfoot is a track filled with intensity. With Strings playing banjo, acoustic, and electric guitar, steel guitar, and bass, along with Matt Chamberlain on drums, this song tells a maddening tale about a man petrifying his community with his wild street racing.

Highway Prayers is noteworthy for Billy Strings. It’s an ambitious effort that shows us the full scope of his creativity as an artist. Although it can be somewhat of a lengthy listen, there’s plenty of gems to find here. With a broad array of lyrical ideas and stylistic choices, Billy Strings is continuing to demonstrate his broad, ranging appeal.

Bluegrass Tracks – Andy Statman

As a musician who’s performed a wide array of music from jazz to klezmer, it comes as somewhat of a surprise that Andy Statman’s latest release has a strong focus on traditional bluegrass. Bluegrass Tracks is Statman’s nod to his early days as a mandolinist, while still capturing his unique compositional sensibilities.

Recorded over a four day period in September 2019, Statman has surrounded himself with a robust instrumental ensemble. This is clearly evidenced in the album’s opening track, Bill Monroe’s Stoney Lonesome. Along with Statman on mandolin, he is supported by Ron Stewart on banjo, Bryan Sutton on guitar, Mike Bub on bass, and Byron Berline on fiddle, who passed away two years after these recordings were completed. Ricky Skaggs appears on this track playing stellar twin mandolin alongside Andy.

Sycamore Street is the first of several Statman originals on this project, and also the first to include twin fiddle work from Berline and Stewart. This tune is an excellent example of Statman fusing his creativity within the traditional bluegrass context.

The twelve tunes vary in style. If Only You Knew is a beautiful waltz piece which spotlights not only Andy’s clean tremolo playing on the mandolin, but also Bryan Sutton’s tasteful guitar work. Additional guitar is provided on this track by Tim O’Brien. Other compositions such as These Old Early Morning Blues and I Wouldn’t Do It are performed in a blues vein.

The following track, Bile ‘Em Cabbage Down, is a prime example of Andy Statman’s improvisational capabilities. It’s quite compelling to hear a player of his caliber take a tried and true standard and make it completely his own. This is also the only selection with vocals, which are sung by Tim O’Brien, making for a fun and stimulating performance.

Katy Hill is rendered in a similar vein as the aforementioned track. While Berline’s solos stay true to what many enthusiasts know, Statman, Sutton, and Skaggs aren’t afraid to take creative liberties with the piece. It’s a fascinating take on this traditional standard.

The closing track, Starday Hoedown, will definitely please hardcore traditional bluegrass fans with the powerful twin fiddling from Berline and Stewart, as well as the Monroe-inspired mandolin break from Statman. It’s a powerful performance to close the project.

Bluegrass Tracks is an enthralling effort. While many of us know Andy Statman as a first rate mandolinist and composer, this project allows us to get a glimpse of his love for traditional bluegrass, and his ability to create within that realm.

Rhonda Vincent – Destinations and Fun Places

From her formative years in Greentop, MO to becoming a member of WSM’s Grand Ole Opry in 2021, Rhonda Vincent’s career has taken her down many roads. Her latest release, Destinations and Fun Places, is a concept album which takes the listener on a journey to various cities, states, and other locations throughout the album’s thirteen tracks.

The opening track, Please Mr. Please, first became a hit for Olivia Newton John in 1975. Rhonda gives this classic a formidable bluegrass treatment with solid backing from members of her band, The Rage. Along with Vincent on mandolin, the group also consists of Mickey Harris on bass, Aaron McDaris on banjo, Zack Arnold on guitar, Adam Haynes on fiddle, and Jacob Metz on resophonic guitar.

Take Me Home Country Roads is the first of several collaborative tracks on this project. Written and first recorded by John Denver in 1971, this chestnut has been cut by countless artists in the decades since. Vincent is supported on her rendition by country legend Dolly Parton, as well as modern country vocalist, Cody Johnson, making for a very pleasant performance.

Wagon Wheel created something of a controversy for Vincent when it was first released as a single in July of this year, primarily due to its length, but also because it’s a song that’s been over done within the acoustic music canon. Featuring Alison Krauss on harmony vocals, her version goes at somewhat of a gentle, staid pace for the first half of the seven minute track, but towards the end, shifts into an instrumental jam that is a true tour de force, which forms the strongest point of this track by far.

In Between Town by Bob and Virginia Minner is a song that captures the charm of living a simple life in a small town. An excellent story, which Rhonda tells excellently well.

Another interesting track is Rhonda’s take on the Jimmy Buffett classic, Margaritaville. Featuring vocal assistance from Trisha Yearwood and Jeannie Seely, this is an odd choice for inclusion on a bluegrass record, but a fun performance nonetheless.

Speaking of Jeannie Seely, I Miss Missouri was cowritten by her, Vincent, and Erin Enderlin. It’s a vivid, autobiographical piece for Rhonda, and perfectly captures her fondness for her home state.

Nine To Five, which served as the title song for the film of the same name, is another track that is executed surprisingly well in the bluegrass format. The vocal blend between Rhonda and Sonya Issacs Yeary is the highlight of this entire performance.

Another song that’s been recorded by scores artists over the years is City Of New Orleans by Steve Goodman. Rhonda delivers an exceptional take that once again shows her ability to make a well loved song her very own.

Destinations and Fun Places is an enjoyable effort. While many of these tracks have been previously covered, in some cases more times than necessary, Rhonda Vincent has reminded us why we fell in love with these songs in the first place. All thirteen tracks fit the concept of this project effectively. It’s an album that definitely lives up to its name.

20 – The Grascals

Since forming twenty years ago, The Grascals have had a storied career, from serving as Dolly Parton’s backing band on her Hello Dolly tour to making over two hundred guest appearances on the Grand Ole Opry, among numerous other accomplishments. Their latest release, 20, commemorates this milestone anniversary by presenting the consistent blend of bluegrass and country stylings the group has maintained throughout their history.

The album opens appropriately with Tennessee Hound Dog, a song first recorded by the Grascals’ greatest musical influence, The Osborne Brothers. Between John Bryan’s high lead vocals and Kristin Scott Benson’s banjo work, this is a track that’ll surely do Bobby and Sonny proud.

Coal Dust Kisses by Susanne Mumpower and Jerry Salley features founding member Jamie Johnson on guitar and lead vocals. Having been absent from the group for several years, it’s thrilling to hear his voice on a Grascals recording again. Johnson does an excellent job of delivering the story of a man doing a risky job in order to provide for his family.

Some People Make It by Roger Miller features the newest member of the Grascals, Jamie Harper on fiddle and lead vocals. Harper delivers an energetic performance here, as well as the rest of the group, who provides solid instrumental backing. Along with Harper, Jamie Johnson, John Bryan on guitar and Kristin Scott Benson on banjo, the group also includes Terry Smith on bass and Danny Roberts on mandolin. The Grascals are also joined by guest musicians Tony Creasman on percussion and Jimmy Haynes on guitar.

Pull The Trigger by Johnson and Shawn Camp is a gritty blues song about aiming to be with the one you love. Not only do Jamie and John Bryan display their incredible vocal blend, but this song has a strong rhythmic pulse. It’s one of the highlights of this recording.

The First Step by Chris Burton and Jeff Huss is a slow country ballad that demonstrates the trio vocal harmony of Jamie Johnson, John Bryan, and Terry Smith. It’s another song with a distinctive Osborne Brothers influence. Jenny by Jamie Johnson is another track that falls into this category. It’s especially punctuated by the wonderful steel guitar playing, which unfortunately is uncredited in the album’s liner notes.

12^th & Pine by Danny Roberts and Wyatt Ellis is the album’s sole instrumental. This tune especially demonstrates Roberts’ clean, fluid mandolin playing that many have come to admire.

20 marks not only a milestone for the Grascals, but also adds another exceptional release to their discography. This has everything you could ask for, powerful vocals, and strong musicianship combined with stellar original material. This is a combination that has worked for the Grascals the last twenty years, and without a doubt will continue to do so in the years to come.