Braeden Paul, Author at Bluegrass Today

Bluegrass Mix Volume 1 – HillBilly Fever

Since the release of their last album, Lonesome, in 2022, a few things have shifted for Texas based HillBilly Fever. For one, the lineup has completely changed, with the exception of banjoist Mark Krider and dobro player Randy Pasley. As a result, the musicianship and vocals have reached a much higher level. What hasn’t changed is the band’s commitment to straight ahead traditional bluegrass stylings. Bluegrass Mix Volume 1 is HillBilly Fever’s tip of the hat to generational leaders of the genre.

The project opens with Redwood Hill, a Gordon Lightfoot song which was popularized in bluegrass by The Country Gentlemen. The vocal harmonies are noticeably stronger than what was heard on HillBilly Fever’s previous releases. Tucker McCandless handles the lead vocals and rhythm guitar on this track along with Krider on banjo, Pasley on dobro and vocals, Hudson Bosworth on lead guitar and vocals, Billy Parker on mandolin, and Alan Tompkins on bass.

The following track, Cry Cry Darlin’, is performed in the vein of the rendition that Bill Monroe recorded in May 1957. The overdubbed triple fiddles by guest Nicholas Conventry, along with the powerful lead singing of McCandless, are the highlights of this performance.

Just Ain’t recorded by Flatt & Scruggs in May 1961, features bassist Alan Tompkins on lead vocals. This song fits his low baritone voice perfectly. This track also does a wonderful job of showcasing the band’s instrumentalism.

Another track where the band truly shines is Sledd Ridin’’ penned by Sonny Osborne and Dale Sledd. As a tune of this nature should, Mark Krider’s solid banjo picking carries this performance. Nonetheless, each of the instrumentalists bring great contributions to this piece.

Pallet On The Floor features mandolinist Billy Parker on lead vocals. Though its swing feel makes for a bit of a contrast to the other selections on the recording, it’s still a great performance, again with a nod to The Country Gentlemen. The instrumental solos by Parker and the other members bring an exciting edge to this song.

The true standout of this entire album is The Gray In Your Hair. Written and originally recorded by the late Dave Evans, this song is the best display of Tucker McCandless’ strong vocal ability. Channeling Evans on both a stylistic and emotional level, McCandless delivers a performance that’ll surely bring goosebumps to the listener.

Bluegrass Mix Volume 1 is without question HillBilly Fever’s best release to date. Each of the songs pay tribute to the band’s heroes and influences, and does them honor in the process. With strong vocal harmonies and solid instrumental work, this configuration of HillBilly Fever is one that will hopefully continue to flourish and bring more of their traditional sound to the table.

Live From The Ryman – Dan Tyminski

Dan Tyminski is a name synonymous with bluegrass vocal excellence. Throughout his long career, Tyminski has appeared on several live recordings such as Down From The Mountain in 2000, and Alison Krauss & Union Station’s Grammy-winning album, Live in 2003. Live From The Ryman is Tyminski’s first live effort under his own name. This performance captures not only the voice that fans have come to know and love, but also the incredible ensemble of musicians with which Dan has surrounded himself.

The track list for Live From The Ryman is largely comprised of fan favorites from Tyminski’s catalogue. The opening track, This Sad Song comes from 2023’s God Fearing Heathen, though he had first sung it on Union Station’s 2004 record, Lonely Runs Both Ways. It sets the tone for the high energy the Dan Tyminski Band brings to this performance. Along with Tyminski on guitar and lead vocals, the group also consists of Gaven Largent on dobro and vocals, Maddie Denton on fiddle and vocals, Harry Clark on mandolin and vocals, Jason Davis on banjo, and Grace Davis on bass.

Modern Day Jezebel by Daniel Salyer and Jeff McClellan was first recorded by Dan on a single released by banjoist Jason Davis in 2021. This song which talks of a woman whose “heart is black as gulley dirt” is performed with great emotion and intensity.

Speaking of Jason Davis, the following track Cumberland Gap allows him to show his commanding presence on the five string banjo. It’s an all-around stellar demonstration of the Dan Tyminski Band’s instrumentalism.

Ode To Jimmy also comes from God Fearing Heathen. It’s immediately clear why this song has become a huge favorite among audiences as the lyrics tell the story of the King of Bluegrass in a lighthearted and humorous fashion.

It wouldn’t be a live Dan Tyminski album if the next two tracks, The Boy Who Wouldn’t Hoe Corn and Man of Constant Sorrow weren’t included. The former which was recorded on Alison Krauss & Union Station’s New Favorite tells an enchanting tale, while the latter is the song that put Tyminski on the map for many listeners.

Whiskey Drinking Man by Tyminski and Monty Criswell is a driving track that has all the elements of a powerful traditional bluegrass song. Everyone brings their A game to this piece.

Live From The Ryman is an exceptional effort. This is an album that can be enjoyed by longtime fans of Tyminski’s work as well as those who are just familiarizing themselves with it. It’s without question a strong representation of his and his band’s artistry.

Out of the Shadows – Trevor Watson

From his beginnings with Lou Reid & Carolina, to his time filling in for banjo great Ben Eldridge with the Seldom Scene, Southwest Virginia native Trevor Watson has been a consummate sideman in bluegrass music. His debut solo release, Out of the Shadows, brings both his solid instrumentalism and vocal ability to the forefront.

The opening track, Look Into My Eyes, was written by Jimmy Haley and first recorded by the group, Southbound, with which Haley was associated. Trevor’s longtime friend and bandmate, Shannon Slaughter, handles lead vocals on this song. Along with Watson on banjo and Slaughter on guitar, the core cast on this recording consists of Aubrey Haynie on fiddle, Gary Hultman on resophonic guitar, Ron Inscore on mandolin, Shawn Lane on tenor vocal, and Tracy Burcham on electric bass.

Blue Ridge Mountain Sun written by Burcham, captures Trevor’s silky baritone voice. This song, which tells an emotional tale of a love’s sunrise and sunset, features stellar vocal work from Watson, Lane, and Slaughter.

Reable’s Bender is an instrumental that demonstrates Watson’s compositional abilities on the banjo. Named after Reable Childs, an inmate in Huntsville, TX, this tune features great usage of the five string’s de-tuners. Walking On The Moon is also a great demonstration of Trevor’s instrumental creativity.

First Flower of Spring is one of several Wes Golding originals included on this project. Originally recorded by Golding’s group, Surefire, in the 1980s, this track features incredibly powerful fiddling from Aubrey Haynie. It’s a strong example of why he’s a hero to so many fiddlers.

Easy Chair is another Golding-penned song that comes from the Surefire repertoire. This is one of those tracks that has it all. The vocals from Watson, Lane, and Inscore are commanding, and the instrumentalists maintain a sense of intensity all throughout.

Out of the Shadows is a wonderful effort. While many people have been aware of Trevor Watson’s rock solid banjo picking, this album shines a light on his abilities as a vocalist and arranger. With its strong supporting cast and solid material, this is a recording not to be missed.

Wanderers Like Me – The Po’ Ramblin’ Boys

Since coming together at the Ole Smoky Distillery ten years ago, The Po’ Ramblin’ Boys have become a beloved favorite amongst fans for their traditional musical stylings and entertaining stage shows. The group’s latest release, Wanderers Like Me, is a collection of songs that captures the triumphs and hardships of a wandering soul.

The title track, Wanderers Like Me, gets the album off to an incredibly strong start. Co-written by the band’s guitarist Josh Rinkel with Stephen Mougin, this driving song captures the central theme of this project beautifully. Along with Rinkel on guitar and C.J. Lewandowski on mandolin and lead vocals on this track, The Po’ Ramblin’ Boys also consist of Jereme Brown on banjo, Jasper Lorentzen on bass, and Laura Orshaw on fiddle. All five members contribute vocals throughout this recording.

Lonely Pine, also by Rinkel, is a song that naturally fits within the repertoire of The Po’ Ramblin’ Boys as it talks of the agricultural work that is done by farmers day after day. The vocal harmony by Rinkel, Brown, and Lewandowski particularly stands out here.

Streets of Chicago, by Clyde and Marie Denny, tells of a man who comes to realize he’s more suited for the country rather than the big city. It’s another song that ties in perfectly with the theme of wandering.

Trying to Live the Dream is one of two duets featuring Josh Rinkel and Laura Orshaw. Co-written by both Rinkel and Orshaw, this song demonstrates the unique blend their voices have. It speaks of one questioning whether they made the right choice sacrificing a love in order to chase after a dream. The other Rinkel-Orshaw duet, I’m Still a Fool For You, was written by Rinkel and has a slight honky tonk flavor.

The Condition of Samuel Wilder’s Will was first recorded by the Osborne Brothers and released on their 1973 album, Midnight Flyer. C.J. Lewandowski delivers a fine performance here which tells a captivating story.

Smoky Mountain Home is an appropriate choice to close out the recording. Co-written by Rinkel and Eli Johnston, this track talks of the simple pleasures in life. Considering this year marks the 10^th anniversary for The Po’ Ramblin’ Boys, it’s fitting that they included a song that takes place in the area where they got their start.

Wanderers Like Me is by far the most original of any of The Po’ Ramblin’ Boys releases, as seven of the ten tracks were solely written or co-authored by Josh Rinkel. From start to finish it’s clear that the group has a greater sense of their identity than ever before. It’s a fine addition to their growing catalogue of recorded work.

String Time – Bill Emerson

Bill Emerson’s impact on the five string banjo cannot be overstated. A member of the Bluegrass Music Hall of Fame, Emerson’s playing has been an integral part of many legendary recordings, and in turn has inspired countless banjoists. Three of those influential recordings were solo efforts released on the Coronet label in the 1960s. String Time on Patuxent Music is the first time any of these recordings, made between 1962 and 1963, have been reissued on CD and digital platforms.

Most of the twenty tunes feature the same configuration of backing musicians. Alongside Bill, the core group includes Red Allen on guitar, Frank Wakefield on mandolin, and Tom Morgan on bass. The opening track, Old Joe Clark, is a spot on example of both Emerson and Wakefield bringing their stylistic touches to a tried and true standard.

Baby Sue (Old Spinning Wheel) is one of several tunes that were recorded under a different name in order to avoid copyright issues. Played at a slightly faster tempo than one would typically expect, Emerson really does this piece justice with his rendition.

The title track, String Time, is actually an early recording of Theme Time, which would go on to be commonly associated with the music of Jimmy Martin & The Sunny Mountain Boys, with whom Emerson played when these recordings were made. Although Bill wouldn’t record the tune with Martin until a few years later in 1965, it’s really clear from this performance that this classic was an already well defined piece.

Weepin’ Willow (Bury Me Beneath the Willow) is the first of several tracks on this reissue to feature Kenny Haddock on dobro. A pioneering musician within the Baltimore bluegrass scene, this tune really captures Haddock’s capabilities on the resophonic instrument.

Lightnin’ Banjo is a reprise of Lonesome Road Blues, which was featured earlier in the collection. This particular version is played in a different key, and in a more frantic tempo, than the former rendition. It’s truly riveting. Runnin’ Wild (Cumberland Gap) is the perfect follow up track as it’s played with that same intensity and vigor.

Sweet Dixie was a tune that became not only a signature showpiece for Emerson, but would also serve as the name of the band he would eventually form. Like String Time (Theme Time), it’s clear that this tune already had all the elements that banjo players would be learning for generations to come.

Push and Shove (Back Up and Push) is the only track that features Carl Nelson on fiddle. Known for his work as a longtime member of Bill Harrell and the Virginians, Nelson’s fiddling on this tune is stellar, and complements the playing of Emerson and the other musicians remarkably.

Speaking of Bill Harrell, Rainbow Blues (Fireball Mail) includes him on rhythm guitar along with Buzz Busby on mandolin. Busby’s performance here is the perfect contrast to what Frank Wakefield brought to these recordings.

Charlie Waller is featured playing guitar on both Hogwash (Hey Mr. Banjo) and Fingers On Fire (John Henry). Waller has been regarded so highly for his signature singing voice that his stellar rhythm and lead guitar playing is often overlooked. The reissue of these two tracks will hopefully rectify that.

String Time is an important reissue. These recordings have been a source of inspiration for numerous five string players such as John Hickman, Jens Kruger, and Alan Munde, who wrote the liner notes for this project. These recordings brilliantly capture why Bill Emerson is on the Mount Rushmore of bluegrass banjoists for so many people.

Dave Adkins – What I’m For

Dave Adkins has made a name for himself in bluegrass music with his commanding voice and robust original material. Adkins’ latest effort, What I’m For, his first for Billy Blue Records, differs slightly from his other releases, in that he didn’t have a hand in writing any of the album’s eleven tracks. Nonetheless, each song carries the Dave Adkins flavor that has drawn him so much attention in recent years.

The project opens with She Put The Go In Gone. Written by Jerry Salley and Brent Baxter, this piece tells the story of a relationship’s end with an astonishing degree of imagery, and lyrics that the listener can readily visualize as each line goes by. As with all the tracks on this album, Adkins is assisted by Aaron McDaris on banjo, Jason Roller on guitar and fiddle, Justin Moses on resophonic guitar and mandolin, and Jeff Partin on bass. Harmony vocals are provided on this song by Salley and his daughter Magnolia.

While the Creedence Clearwater Revival song, Bad Moon Rising, has received several bluegrass treatments over the years, Adkins’ rendition is arguably the most riveting of them. This track is particularly carried by the driving banjo work of McDaris.

The title track, What I’m For, by Allen Shamblin and Marc Beeson, is the highlight of this entire project. It talks of the underdog, the under-appreciated, and those whose work in crucial fields is so often taken for granted. It has a powerful message that we all would do well to take heed.

Rock Pile, by Jerry Salley and Lee Black, is one of two gospel selections on this project. This song tells the story found in the Gospel of John where the Pharisees come to Jesus with a woman who’s accused of adultery. Like in the scripture, the song tells of offering grace and love instead of judgment for another’s shortcomings.

The other gospel song, I Can Only Imagine, should be familiar to fans of the Christian rock group, MercyMe. Dave in particular does a stellar job sharing a message of the wonder and joy that is waiting for us in Heaven. Both tracks feature harmony vocals from Ari Silver, a current member of Dave Adkins & Mountain Soul, as well as Zack Vickers, a former member of the Dave Adkins Band.

I’m Ready For The Weekend, by Tim Raybon, is a fun song about the excitement and fun that awaits us after a long, busy week. Another track that falls into this category is Ole Rooster by Dennis Morgan, Shawn Camp, and Billy Burnette. They use the rooster as a metaphor for one with a confident and optimistic personality.

What I’m For is a fantastic display of Dave Adkins’ raw, soulful vocals. While other writers penned the songs on this release, they are all excellent fits for Adkins and his dynamic approach.

Scott Hopkins – Just You

Concept albums are fairly prevalent in music history, the idea having been more recently adopted within the bluegrass genre. Scott Hopkins, a banjoist and music instructor based in Albany, New York has taken a creative step forward with his second solo release. Just You is an album filled with positive love songs and performed as duets with those that Hopkins has collaborated with throughout his journey.

The album begins with the title track, Just You. Recorded with the writer of the song, Fred Lantz, this piece with banjo and mandolin sums up the entire concept of this project in just one song, finding joy and contentment with the one you truly love.

You’re That Much Woman To Me is a bittersweet track, as it features Hopkins alongside the late Smokey Greene, a fixture in the northeastern bluegrass community for a number of years. Greene was in fine voice on this recording. It’s a treasure to have one final performance from him on this project.

Flower Blooming In The Wildwood/Wildwood Flower features Joe Newberry on clawhammer banjo and lead vocals. This is a particularly strong performance that blends the bluegrass and old time banjo styles seamlessly.

I Told Them All About You features Barry Mitterhoff on mandolin, who should be familiar to most fans from his time as a member of Tony Trischka & Skyline. Recorded by numerous artists since the late 1920s, this song spotlights Mitterhoff’s swing oriented playing and improvisational mastery.

The ultimate highlight of this release is Sure Fire Kisses. First recorded by Justin Tubb and Goldie Hill in October 1954, this track features Scott alongside Brittany Karlson on bass and vocals. Karlson delivers an incredibly powerful performance both vocally and instrumentally. It’s the perfect complement to Hopkins’ vocal and banjo work.

Let’s Talk Dirty in Hawaiian is a song that should be familiar to any fans of the great singer/songwriter, John Prine. This performance pairs Hopkins with fellow banjo picker and New York native, Tony Trischka. This is a really fun track that shows the best of both Hopkins Trischka’s individual styles on the five string.

With the combination of the right songs and collaborators, Just You is a textbook example of how a concept album should be approached. Scott Hopkins came up with a creative approach, one that was executed extremely well by everyone involved.

Live Vol. 1 – Billy Strings

There are certain artists that make an even greater impact outside their primary musical genre. Billy Strings, without question, falls into that category. While clearly passionate and skilled at playing various forms of bluegrass, Strings has broadly combined those sounds alongside other musical ideas. As a result, he’s performed to packed houses and has successfully garnered a diverse fan base. Billy’s first live release, Live Vol. 1, masterfully demonstrates what he brings to his audiences night after night.

Taken from numerous performances over the course of 2023 and 2024, the track listing consists of primarily fan favorites. The opening track, Dust In A Baggie, was the song that put Strings on the map a decade ago. Recorded at the Mohegan Sun Arena at Casey Plaza on December 15, 2023, this track is a fitting opener and one that shows a powerful response from the crowd.

These live recordings captures Strings completely in his element instrumentally. Tracks like Heartbeat of America and Fire Line>Reuben’s Train, both of which were recorded at the Ryman Auditorium on February 25, 2024, feature long extended jams between Billy and his band members. Every performance on this release shows the strong chemistry Strings has with his bandmates which include Billy Failing on banjo, Royal Masat on bass, Jarrod Walker on mandolin, and Alex Hargreaves on fiddle.

Other fan favorites such as Long Forgotten Dream and Turmoil & Tinfoil are included here as well. Both are fine, polished performances. Their inclusion here is well merited.

Richard Petty, recorded at the State Farm Arena in Atlanta, GA on March 1, 2024, is a stark yet brilliant contrast to the previous performances tracks. Rendered in the style of an a cappella gospel quartet, it’s a song of motivation which carries the message of “finding a better way to live my life and carry on without the strife.”

Billy Strings is a remarkable talent that continually reaches more listeners outside of the bluegrass spectrum. Live Vol. 1 does a marvelous job answering the question of how he’s managed to maintain such a wide appeal. This is one of those recordings that display Strings’ abilities in a way that none of his previous studio efforts ever have.

Steppin’ Into It – Jared Finck

South Dakota native Jared Finck began his musical journey at the age of twelve, playing mandolin and dobro with his family band. By his teenage years he was creating his own instrumental tunes. Though Steppin’ Into It from Engelhardt Music Group is Finck’s sophomore release, it holds a few points of significance. Not only is it his first since 2012’s Daunting Task, it also marks the beginning of his musical journey as a full time pursuit.

The album kicks off with Cloud Base, a soothing melody that places Finck’s mandolin work front and center. With the exception of Matt Menefee on banjo, Steppin’ Into It consists of the same supporting cast that appeared on Finck’s previous release. These players include Andy Leftwich on fiddle, Cody Kilby on guitar, and Byron House on bass.

Quick Stream is an up tempo piece which has fine displays of Finck’s clean, articulate approach to mandolin, along with the melodic banjo stylings of Matt Menefee.

Soni’s Rag is a swingy tune that allows Jared to display his powerful ability on dobro. While his mandolin playing is first rate, his approach to the resophonic instrument is not to be missed! A Hymn To The Unknown is a solo piece that provides a beautiful example of this.

The Spanish Miner is a particularly intriguing composition. Played in a minor key and consisting of a change in tempo, this is a tune that allows every single instrumentalist to bounce ideas off of each other. It offers a fine display of improvisation.

Iditarod is a barn burner that allows Jared to go all out on the mandolin and dobro. A tour de force not just for him, but for Leftwich and Menefee as well.

A Place Of Happiness is the perfect follow up tune as it slows the pace down, while also keeping the energy of both the players and the listeners up.

The title track, Steppin’ Into It, sounds like something that could easily have been inspired by the classic recordings of the David Grisman Quintet. Cody Kilby in particular really shines on this tune.

Steppin’ Into It is an excellent display of both Jared Finck’s musicianship and his compositional ability. It’s obvious that the decision to devote his full energy to making music has brought a great sense of inspiration. That passion comes through on this recording.

Songs of Love and Life – Del McCoury Band

It’s always a joyous occasion when The Del McCoury Band releases a new album. A living legend in bluegrass music, McCoury has done anything but rest on his laurels. Not only is the Del McCoury Band still actively touring, but they’re still creating and bringing new music to their countless loyal fans. Del’s latest effort, Songs of Love and Life, is a collection that demonstrates his masterful ability at telling a story through song.

The opening track, If You Talk In Your Sleep, was first recorded by Elvis Presley in 1974. This song is a stunning demonstration of the high tenor voice that listeners have known and loved for decades. McCoury is of course backed by his sons Ronnie and Rob on mandolin and banjo respectively, Jason Carter on fiddle, and Alan Bartram on bass.

She’s Heavenly by Billy Smith and Chris Henry is a true standout. Featuring Molly Tuttle on lead and harmony vocals, this song speaks of one’s profound love for another. Once again the vocals are a strong component of this performance. Tuttle’s voice blends exceptionally well with Del and Ronnie.

Just Because by Lech Wierzynski is one of those songs that’s made for the Del McCoury Band. Originally recorded by Wierzynski’s band, The California Honeydrops, in 2013, it’s a brilliant example of Del taking a song from outside the bluegrass canon and molding it into something that is purely his own. Only The Lonely from the Roy Orbison catalogue is another wonderful example of this. This performance is especially well complemented by the piano work of Josh Shilling.

Legend of the Lost Confederate Gold, by Paula Breedlove and Mike Evans, tells the myth of the confederate gold that was stolen from Richmond, Virginia on the evening of May 24, 1865. This song allows Del to showcase his ability to serve as the narrator for a story song, especially one based around a legendary folktale such as this.

Two other tracks, Jimmie Rodgers Rode a Train and Working For The W.P.A. also hold historical backgrounds. The former written by Thomm Jutz and Charley Stefl, celebrates the life and career of the Singing Brakeman, while the latter by Mark Simos and Roger Brown, speaks of the agency that employed over millions of job seeking men to complete mostly jobs constructing roads and public buildings.

Del McCoury’s music has been influential to many over his long career. Having turned 85 in February of this year, it’s inspiring to see him further his legacy with new material in his distinctive style. Songs of Love and Life is a testament to Del’s continued staying power.