Braeden Paul has been involved in various capacities of bluegrass music. A Texas native, Paul has been part of several Dallas-based bands as a mandolinist. He also serves on the board of directors of the Southwest Bluegrass Club in Grapevine, TX. As a writer, Braeden has also contributed numerous music reviews to the Bluegrass Society of America Facebook page, and is the co-author of Texas Bluegrass History: High Lonesome on the High Plains.
What began as Josh Martin’s backing band for a series of acoustic shows in the Midwest, has morphed into an eclectic supergroup with a wide range of influences. 444, the first full length release from this outfit, Wood Box Heroes, demonstrates their strong combination of original lyricism and outside the box musicianship.
The opening track, Cross the Line, was written by Martin. The jazz and newgrass influences are clear from the first few notes of Matt Menefee’s banjo intro. The lyrics speak of soothing the pain after the heartbreaking end of a relationship. Along with Martin on guitar and vocals and Menefee on banjo, the group also consists of Jenee Fleenor on fiddle and vocals, and Barry Bales on bass and vocals. Though mandolinist Seth Taylor has since left the Wood Box Heroes, he also makes some strong contributions to this album.
Cannonball, co-authored by Bales and Chris Stapleton, is a slow and somewhat dark song with metaphorical imagery of physical destruction to symbolize the unraveling of one’s romance.
Better When We’re Livin by Josh Martin is a complete contrast to the aforementioned track. With positive lyrics about one’s day to day life combined with a swingy upbeat melody, it’s a really wonderful song that’ll surely become an earworm for anyone who hears it.
Piece of the Peace also by Martin, follows a similar path of positivity with a message of finding, and continually searching for peace, in one’s current circumstances.
Five of the tracks including the instrumental title track, No. 444 were all previously released on the group’s self-titled debut EP. All five selections fit well within the context of this album. This Train in particular is the perfect track to follow Cross the Line.
444 is a release filled with creativity and inspiring musicianship. The Wood Box Heroes are another brilliant example of five strong talents coming together to create something captivating and unique.
In 2020 at the height of the COVID pandemic, master banjoist Tony Trischka spent his time studying rare recordings of his hero Earl Scruggs informally jamming with the great John Hartford in the late 1980s and early 1990s. Though Trischka has been listening to Earl for many decades, these tapes revealed another side to Scruggs’ three finger picking that Tony had never heard before. Wanting to share these discoveries with more listeners and players, Trischka received permission from the Scruggs and Hartford families to record some of these songs. The resulting album, Earl Jamis a virtuous collection that demonstrates the creativity Scruggs maintained throughout his life.
The opening track, Brown’s Ferry Blues sets the tone for everything going forward on this recording. Written and first recorded by the Delmore Brothers in 1933, this tune is played as closely as possible to how Earl played it on the jam recordings, which is how virtually every piece on this project is presented. The supporting cast varies for each song. Billy Strings handles lead vocal and guitar duties for Brown’s Ferry Blues along with Trischka on banjo, Sam Bush on mandolin, Michael Cleveland on fiddle, Mark Schatz on bass, as well as Béla Fleck on banjo, whose solo is described in the liner notes as a “definitely non-Scruggsy banjo solo.”
San Antonio Rose combines the best of Earl Scruggs and Bob Wills. While Trischka’s banjo is still very much part of the song, this piece is dripping with various fiddle parts being played by Darol Anger and Casey Driessen. The vocals from Sierra Ferrell, Phoebe Hunt, and Lindsay Lou give this song a nice touch as well. This track also includes Oliver Craven on guitar, Josh Rilko on mandolin, and Geoff Saunders on bass.
My Horses Ain’t Hungry is a tune that Tony first heard as a fiddle and banjo duet with John Hartford and Earl Scruggs. Here Trischka plays it with old time fiddle authority, Bruce Molsky, who also provides excellent vocals on this track.
Roll On Buddy is one of the album’s ultimate highlights. Reprising a song he first recorded as a member of Bill Monroe and the Blue Grass Boys in 1964, Del McCoury delivers an incredible performance, which is complemented by the powerful twin fiddle work of Jason Carter. They are accompanied on this track by bandmates Ronnie McCoury on mandolin and harmony vocals and Alan Bartram on bass. While Scruggs had been long gone from Monroe’s band by the time McCoury joined, Tony incorporates various ideas from Earl, particularly on the ending of the song.
Freight Train Blues is inspired by the 1936 recording by Roy Acuff and his Crazy Tennesseans. With Dudley Connell handling the lead vocals and guitar, he truly shines on this track as does Michael Cleveland, whose fiddle breaks mimic the harmonica playing of Sam “Dynamite” Hatcher. Other contributors to this performance include Jacob Jolliff on mandolin and Jared Engel on bass.
Dooley is a true bluegrass classic, having first been recorded by the Dillards on their 1963 debut album, Back Porch Bluegrass. Though it’s performed here in a more laid back fashion, Molly Tuttle and Sam Bush both do a wonderful job switching off on lead vocals. This track also includes Bronwyn Keith-Hynes on fiddle and harmony vocals, Mark Schatz on bass, and Tony’s son Sean Trischka on harmony vocals.
Other notable tracks include Amazing Grace and Lady Madonna, both largely due to the powerful vocal harmonies. The former features Sierra Ferrell on lead vocals along with who Tony describes as, the “righteous” McCrary Sisters, on backing vocals. The latter features Leigh Gibson on lead vocals and guitar along with Eric Gibson and Dudley Connell on harmony vocals. It’s an astounding performance, one that I’m sure will be on repeat for many listeners.
Earl Jam is not just an entertaining release, but an important one as well. Though Earl Scruggs isn’t here to give us more music, Tony Trischka has meticulously studied these rare informal jam recordings and brought unearthed ideas to the forefront. Tony is furthering his hero’s legacy in an honorable and inventive fashion.
Since he was just eighteen years old, Daniel Grindstaff has played banjo for numerous top acts in bluegrass music, including Jim & Jesse, Bobby Osborne, Marty Raybon, and David Davis among others. On the aptly named, Heroes and Friends, Grindstaff has surrounded himself with first rate pickers and singers for a collection of his own original tunes and interpretations of his favorite songs, all with an eye towards those he has looked up to in music.
The album kicks off with Finnland, a tune which Daniel named after his son, Finn. Played in the spirit of the great old time fiddle/banjo combination, this track features Andy Leftwich on fiddle along with Jesse Brock on mandolin, Trey Hensley on guitar, and Kent Blanton on bass.
Forever Young is one of several highlights of this project. Taken from the repertoire of Rod Stewart, this track features incredible vocals from Paul Brewster and Dolly Parton. Along with Grindstaff on banjo and harmony vocals, instrumental support is provided by Leftwich on mandolin, Hensley on guitar, Blanton on bass, as well as Josh Swift on resophonic guitar and percussion, Stephen Burwell on fiddle, and Derek Deakins as the string section.
Colleen Malone should be familiar to most bluegrass fans as it’s been performed by both Larry Sparks and Hot Rize. Grindstaff’s rendition features Rickey Wasson on lead vocals. This performance also contains strong mandolin work from Doyle Lawson and captivating harmony vocals from Jeff Parker.
My Last Old Dollar is a driving track that’ll definitely appeal to fans of hardcore traditional bluegrass. Featuring Kevin Richardson on lead vocals, this song will grab you from the minute you hear the twin fiddles of Stephen Burwell and Derek Deakins. This track also features strong vocal work from Shawn Lane.
Much like the albums opener, Three Arrows is a tune written for Grindstaff’s sons, Owen and Finn. It also serves as the symbol for Down Syndrome, a genetic disorder caused by an extra chromosome. This straightforward piece serves as a fitting conclusion to this album.
No one summed up Daniel’s musicianship better than Jim Mills, who had this to say prior to his untimely passing:
“I had the pleasure of meeting Daniel Grindstaff backstage at the Grand Ole Opry when he was only 18 years old, he was playing banjo for the legendary group Jim and Jesse & the Virginia Boys. First of all, to be working in a band who are Grand Ole Opry members at that age is a huge accomplishment in itself, but I looked past his young age and saw and heard a young man far beyond his years both as a musician and as a gentleman. I am proud to call him friend and know you’ll greatly enjoy this recording.”
Heroes and Friends is a stellar release. It captures Grindstaff in his element as both a banjo player and solid supporting musician.
After a hiatus of fifteen years, Bluestreak of Prince Edward Island, Canada has returned with the release of their third album. Rounding Thirdis a collection of fifteen original songs capturing feelings of sentimentality, humor, love and longing.
The Bluegrass Singer written by David and Ron Blue is a true story about their father, Laurie. The song, which tells a light-hearted story of a man discovering bluegrass and playing it for pleasure, features David on bass, Larry Campbell on mandolin, Marcella Richards on guitar, Roger Wightman on banjo, and Peter Richards on dobro.
The following track, This Old Bass, follows a similar theme of recollection. Written by Roger Whitman, this song also revolves around David and the 18th century double bass that he’s been playing since he was a young man.
I Won’t Forget Fiona by Peter Richards was initially inspired by Hurricane Fiona, which hit Prince Edward Island in September 2022. In this song though, Fiona is characterized as a woman who’s flipped the life of her significant other upside down. Along with catchy lyrics, this track has a memorable, rhythmic melody.
Another Mule in My Stall and Honey I’m Home talk of relationships nearing their end with different levels of emotion. The former, written by Patricia Brooke, is the true standout of this project. It talks of one being left in the dark by their partner in a clever fashion. The latter by Peter Richards approaches the final chapter of one’s romance with a much more serious tone.
March On by Roger Wightman is a clever song about the changing of seasons, with a special longing for springtime. Along with creative lyrics, this track has a strong driving melody.
The last two tracks, Voice of An Angel and You Never Know, are both gospel songs. The former by Roger Wightman and Larry Campbell speaking of a mother demonstrating her strong Christian faith to her family, while the latter, also by Wightman, shares a message of putting your trust in God even in the midst of uncertainty.
Rounding Third is a wonderful release. With the band containing several gifted songwriters, this album ultimately demonstrates Bluestreak’s greatest strength. The original material presented here runs the gamut of human emotion. It’s a recording that can draw in any listener.
Bronwyn Keith-Hynes is no stranger to the bluegrass fiddle community. Having been named IBMA’s Fiddle Player of the Year in both 2021 and 2022, and being a noted member of the Grammy-winning band, Molly Tuttle & Golden Highway, her prowess on the instrument is unquestionable. Bronwyn’s latest solo effort, I Built A World, is focused instead on her smooth, confident vocals.
The project opens with I Can’t Live Without Love, written by Jamie Hartford. The lyrics, which are backed by a gentle melody, shows how love is an essential component to one’s everyday life. Featuring Bronwyn on fiddle and lead vocal along with Molly Tuttle and Sam Bush on backing vocals, this track introduces us to the album’s supporting cast which consists of Bryan Sutton on guitar, Wes Corbett on banjo, Dominick Leslie on mandolin, Jerry Douglas on resophonic guitar, and Jeff Picker on bass.
Angel Island by Peter Rowan is a powerful piece which tells the tale of a Chinese woman waiting to make her way into the United States while her fiancée searches for a strong financial fortune for them. Featuring Darrell Scott on harmony vocals, his and Bronwyn’s voices not only complement each other incredibly, but they convey the narrative in such a way that it’s hard to imagine anyone else telling the story.
Don’t Tell Me Your Troubles is Bronwyn’s take on a song written and first recorded by country singer Don Gibson in 1959. This track not only features a strong arrangement instrumentally, but also showcases Bronwyn’s powerful vocal delivery.
Trip Around the Sun by Al Anderson, Stephen Turner Bruton, and Sharon Vaughn, features Dierks Bentley on backing vocals. This track is another great example of how strong the instrumental arrangements are. The shift in tempo is one of the hallmarks of this particular song.
Will You Ever Be Mine by Reed Gulick-Stutz is a track that will most certainly appeal to fans of hardcore traditional bluegrass. Featuring the great Dudley Connell on backing vocals, this is a driving song which features in your face fiddling from Bronwyn and strong banjo work from Scott Vestal.
Although this recording is primarily centered around Bronwyn’s singing ability, Scotty’s Hoedown gives her a chance to demonstrate the fiddle playing that longtime fans know and love. Written by Scotty Stoneman, this track shows Bronwyn’s command of Stoneman’s intricate style of fiddling.
The ultimate highlight of this project is the title track, I Built a World. Written by Matthew Sidney Parsons, the lyrics are filled with feelings of wonder and recollections of daydreams. This is a track where the lyrics and arrangement go hand in hand. Bronwyn is accompanied here by her fiancée, Jason Carter, on backing vocals.
I Built A World is a phenomenal release. Bronwyn Keith-Hynes’ remarkable vocals are paired with all the right songs and instrumental arrangements. This is a recording that casts her talent in a powerful and vivid light.
Spring Creek 45, a band comprised primarily of Alabama based musicians, came together in March 2023 to record an album of original music with a mostly traditional flavor. The resulting self-titled project on Common Loon Records captures the group’s strong vocals and instrumental work in a raw, yet compelling manner.
The opening track, A Little Lonesome, is the perfect song to bring a listener into this recording. Written by Justin Stickler, this track features bluesy lead vocals from guitarist Wesley Knapp, and heavy duty mandolin picking from Michael Prewitt, who most are familiar with as the current mandolinist for Special Consensus. Along with Knapp and Prewitt, this track also consists of Mike Bailey on banjo, Kelsey Cunningham on fiddle, and Steven Salter on bass.
Superhero by Steven Salter is a light hearted ditty about the vivid imagination a child can have. It’s a pure song about a simpler time, one that will surely take anyone back to those happy memories of their own.
Searching For Shade by Justin Stickler, Jeremiah Maddox, Steve Salter, and Russ Parrish is a catchy song about the hot sun and the desperate need for shade. This is another track where Michael Prewitt really shines. It’s a great example of his commanding approach on the mandolin. This song also consists of Parrish on bass.
Speaking of Prewitt, North Mississippi Blues features him on lead vocals. Written by Stickler, this piece paints a wonderful portrait of the music that has become a rich part of the Magnolia State’s regional history. Michael delivers an emotive performance here and is joined by Jeremiah Maddox on harmony vocals.
Little Cabin Home on the Hill is one of two covers featured on this project. It’s rendered in a strong straight ahead fashion by Wesley Knapp and features excellent instrumental work from all the musicians on this track. The other cover, House of Gold, is a track that’s filled with soulfulness and tender emotion.
Trying To Get Things Done by Stickler is a song about the endless amounts of tasks that can stress and weigh a person down. Although light-hearted in its melody, the lyrics will surely remind the listener of the to-do list that they’ve either completed or need to complete.
Spring Creek 45 is a solid ensemble of talented vocalists and instrumentalists. This self-titled album captures originality in its purest form. At times the execution is rough around the edges, but in this case it adds to the beauty of what’s being presented.
The Chigger Hill Boys & Terri have been presenting their own brand of bluegrass gospel music since 2001. Their ninth studio release, Every Good Path, is another display of the group’s originality. All thirteen songs on this project were either solely written or co-written by the group’s lead vocalist, Terri Argot Gore.
The opening track, My Path Was Paved By The Blood Of The Lamb, gets things off to a strong start with a powerful banjo kickoff from Jim Britton. Out of all the songs on this project, this one ties in the closest with the project’s theme of a path, and a road to follow God. Along with Terri on lead vocals and Jim Britton on banjo and harmony vocals, the group at the time of this recording also consisted of Ricky Gore on bass and djembe, Mike Richards on mandolin, and Ben Rochester on resophonic guitar and harmony vocals. Andy Leftwich also appears as a guest on this project playing fiddle and mandolin.
Back To The Book, cowritten by Gore and Greg Cole, has a message of finding our way back to God’s holy word whenever we go astray and find ourselves stumbling.
Is God Gettin’ What He Paid For talks of Christ paying the ultimate price on Calvary in a unique way. With a really catchy melody and rhythmic groove, this song contains excellent lead guitar work from Ben Rochester and wonderful backing vocals from Becky Matthews.
Nothing Quite As Amazing As Grace was co-written by founding group members Mike Johnson and Terri Gore, along with Anthony Cooper. With a smooth gentle melody, this song delivers a strong profound message about the grace that the Lord can offer to us.
I Know The One Who Knows, by Gore and Greg Cole, is another song with a gripping melody. This is most complemented by the lead guitar work of guest musician, Travis Alltop. Resting in His Nail Pierced Hands, also by Gore and Cole, speaks of the safety and security we can have within a relationship with Christ.
A Little Farther is a catchy tune with a message of striving and going to the next level in one’s walk with the Lord. As with several other tracks on this recording, this song was co-written by Terri Gore and Greg Cole. All of their co-writes here are terrific songs. One can only hope this formula will continue on future recordings.
Every Good Path is a fine representation of the Chigger Hill Boys & Terri. While the group is presenting the message and commonly told stories of Jesus Christ, they’re doing so in a new and captivating way. It’s one that every bluegrass and southern gospel fan will enjoy.
Screamin’ Bridge is a fairly new ensemble based in Eastern North Carolina. Formed in 2022, their self-titled debut release showcases their originality and multi-instrumentalism.
The opening track, interestingly enough, has the same name as the group itself. As with all fifteen tracks, this song was co-written by band members, Justin Edwards and Matthew Manning. It gets the album off to a haunting start with a spooky tale about a mysterious disappearance, and demonstrates the wonderful vocal harmony this group has to offer. Along with Edwards on banjo and Manning on guitar, Screamin’ Bridge also consists of Brendan Mobley on fiddle and Jacob Vaughan on bass.
Standin’ in the Rain, also by Edwards and Manning, is a swing oriented piece. It’s not clearly noted in the liner notes who’s playing mandolin on this track. Edwards and Manning switch off mandolin duties throughout this recording. Whoever it is though, they have great command of the instrument. It’s especially clear within the triplets that jump out during the song’s intro.
Boots in the Bushes also falls somewhat into the swing vein. This track features excellent dobro work from Justin Edwards. It’s one of those cases where the song wouldn’t have sounded right without it.
Last Call and Somethin’ Blue are both instrumentals. The former is centered around the mandolin while the latter features really first rate lead guitar playing. This is another instance where the liner notes should’ve been clearer on who was playing what. Unless you’re already familiar with this band, most won’t be able to differentiate the playing styles here.
The Distance is a song that could be interpreted as a lack of communication between two romantic partners. This track features excellent vocal harmony, as well as great fiddling from Brendan Mobley.
Derriere is a humorous song about a man longing and looking forward to Saturday where “he can be king” and “tell the world to kiss his derriere.”
The closing track, One Less Good Ole Boy, is about going back home to familiar settings, people, and situations. It’s a song in which predictability is earnestly sought in the lyrics. Mobley’s fiddling is by far one of this track’s strongest elements.
Screamin’ Bridge is a band with lots of promise. With two members who are both excellent songwriters and multi-instrumentalists the group has plenty of creativity and musical variety. It’ll be interesting to see where they go from here.
If there’s one word that could sum up Blue Highway, it’s consistency. The beloved bluegrass powerhouse has maintained a consistent personnel with only a select few lineup changes over its thirty year history. They’ve maintained a consistently high standard with their signature vocal harmonies and distinctive instrumentalism, and they never fail to bring exciting and fresh original material to the table. Lonesome State of Mind, the band’s first studio release in five years, captures all of these consistent elements in spades.
The album kicks off with the title track, Lonesome State of Mind. Cowritten by Tim Stafford and Bobby Starnes, this song was a mainstay of the Bluegrass Today Weekly Airplay Charts in 2023. It’s very easy to see why. Combining a driving melody alongside a captivating story, this song has all the ingredients of a typical Blue Highway song. Along with Stafford on guitar and vocals, Wayne Taylor on bass and vocals, and Shawn Lane on mandolin, fiddle, guitar, and vocals, the band also consists of Jason Burleson on banjo, mandolin and guitar, and Gary Hultman on resophonic guitar and vocals.
The North Side by Shawn Lane, his brother Chad Lane, and Gerald Ellenburgis a haunting track that features Shawn and his son Grayson singing together. As one can expect with family harmony, the two sound extremely alike. This type of vocal harmony is especially appropriate for a song that was inspired by a winter day in Scott County, Virginia where the Lanes spent their formative years.
On The Roof of the World by Tim Stafford is a fictional tale about a Tibetan sherpa that never made it off of Mount Everest and is missing his home. Gary Hultman’s dobro work particularly stands out on this track. It’s obvious that the work of Blue Highway’s original resophonic guitarist, Rob Ickes, has inspired much of his vocabulary on the instrument.
I’ve Had Enough Missouri For A While, by Stafford and Thomm Jutz, is a true standout. It tells the tale of a man who finally discovers after several relocations that he “knows what the problem is and it ain’t geography.” The lyrics are a brilliant example of the songwriting talent contained within Blue Highway. It’s another one of those songs that’s a perfect addition to the band’s growing repertoire.
Emerson and Bull Moose are both instrumental tracks. The former, written by Jason Burleson, was named for and inspired by the playing of legendary banjoist Bill Emerson. The latter by Shawn Lane is a fine demonstration of his clean, yet powerful approach to the mandolin.
Sleepless Nights, Endless Tears, Broken Heart features Gary Hultman on lead vocals. Cowritten by Stafford and Mark Bumgarner, this traditionally oriented piece is a great match for Hultman’s voice.
Randall Hayes by Stafford and Rick Lang is a dark tale about a man who was murdered, then buried in a shallow grave. This is another one of those songs where the melody fits the lyrical content of the song perfectly.
It would more than likely be tough for any listener to pick a single favorite from Lonesome State of Mind. Blue Highway has shown once again their thorough originality within this release. Every song on this album is a winner. All twelve have earned their rightful place alongside the classic material that fans have come to know and love over the last thirty years.
The story behind the making of Stuck, by Kentucky-based Fast Lane, is an interesting one. The group began recording this album in 2011. During that process the members of Fast Lane decided to go their separate directions, leaving the project unfinished for nearly a decade. With a recent reunion show bringing the group back together, Fast Lane was inspired to finish and release this recording.
Stuck is essentially a double album. While we have the band’s final recordings, this disc also contains an earlier project from Fast Lane, Left This Town, giving us a generous twenty one songs. The song selection is a broad mix of new and familiar material.
The opening track, Any Life But Mine, demonstrates the powerhouse vocals of bassist Kayla Amburgey. The group also consists of Josh Martin on guitar, mandolin, and vocals, Albon Clevenger on fiddle and vocals, Brent Amburgey on banjo, and Brock Amburgey on guitar. Evan Maynard also appears as a guest on mandolin throughout this project.
The title track, Stuck, tells a captivating tale of pining for a love that can’t be. The liner notes of this CD don’t list any of the writers of the songs, but it’s safe to assume that Josh Martin has written most of the originals as he’s since made a name for himself in Nashville as a lyricist.
I’ve Been Waiting As Long As I Can and Rock, Salt and Nails should be familiar to most listeners. The band performs these exceptionally well with their own identifiable take.
Written In Red is a really wonderful gospel song about the parts of the Bible that contain Jesus’ words. Fast Lane’s quartet harmony really stand out on this particular track.
The ultimate highlight of this disc comes from the group’s earlier release, Left This Town. Tina at the Teardrop Inn is an incredible story-driven song with a gripping plot and a few surprising turns. Morristown comes from the repertoire of the Bluegrass Cardinals. Like the other covers on this recording, Fast Lane renders it in a fashion that is uniquely their own.
In Need of Company is another story-driven song. While not as powerful as Tina at the Teardrop Inn, it’s a relatable tale that a lot of listeners can relate to.
Two Outa Three is a banjo instrumental that we can only assume was penned by Brent Amburgey. It’s a fine tune that allows him and the rest of the band to shine.
Another banjo-oriented piece is the closing track, Rocky Island. Performed in the vein of Ralph Stanley, this track gives Amburgey the chance to demonstrate his ability in the clawhammer style of banjo playing.
Stuck is somewhat bittersweet. While all twenty one tracks are chock full of great musical performances and really strong lyrics, it’s a true shame that Fast Lane is no longer active. This band has everything you could ask for within a contemporary bluegrass unit. This double album proves it.
