John Curtis Goad, Author at Bluegrass Today

A Life That’s Good – The Hinson Girls

There are plenty of brother acts in bluegrass, but sister groups have been a little harder to come by. Enter The Hinson Girls, four sisters in their late teens and early twenties, from Lancaster, SC. The girls have been performing bluegrass and Gospel music together for the past seven years, and recently released their third album, A Life That’s Good. It’s a twelve-track collection of contemporary sounds and clear voices, filled with a selection of songs from several popular country and bluegrass songwriters.

The album opens with a smooth cut of the Larry Cordle penned Highway 40 Blues, perhaps most famously recorded by Ricky Skaggs. Admittedly, it’s a little odd to hear a sixteen-year-old singing about the rambling life (did you really squander youth in search of truth, I want to ask), but Katelyn, who is also the group’s mandolin player, sings with a steady, earnest voice. She’s also a solid mandolin player, and offers up an enjoyable solo on this track. My First Mistake is another Larry Cordle number, co-written with Larry Shell, and previously recorded by Alecia Nugent, among others. A mid-tempo heartbreak number about bittersweet memories, the song is a good fit for this group.

Fans of Kenny and Amanda Smith – or perhaps Buck Owens, the songwriter and original singer – will recognize The House Down the Block. Buck’s recording is classic country through and through, while the version here shares many similarities with Kenny and Amanda’s more recent cut. Oldest sister Kristen has a nice guitar solo on this track. The Lonesome River Band’s Money in the Bank gets a sassy, spirited updating, while the girls get to show off their harmony skills on the Osborne Brothers’ Roll Muddy River. Banjo player Allison displays some impressive picking on this track. On an album that mostly uses the music of the past few decades as influences, this song is a nice nod to the earlier generations.

A Life That’s Good has a gentle, folk flavor to it. Written by country singer Ashley Monroe and Sarah Siskind, it was featured on the television show Nashville a few years back. The song is a calm, steady reminder that even if we don’t have fame and fortune, we can still have a good life. It’s one of the album’s highlights and suits the band’s vocal and musical styles well. Gospel number Walk On is another standout. The girls have spent a lot of their career playing bluegrass Gospel, and it’s easy to tell they’re comfortable here. The song is energetic, with a strong mandolin chop and soulful vocals. One of their previous albums was a completely Gospel record, and I’d definitely like to hear them singing more songs like this.

The Hinson Girls put forth a strong effort on A Life That’s Good. Though Allison is an excellent banjo player, and tackles the several driving numbers here with vigor, the band is at their best with the more mid-tempo, contemporary-flavored songs that allow them to take their time with the lyrics and show off their vocals. Allison, Katelyn, Kristin, and Melissa (who contributes sold, even bass playing throughout) have put together an enjoyable album for fans of modern bluegrass.

For more information on The Hinson Girls, visit www.thehinsongirls.com. Their album is available for purchase from their website and to radio programmers at Airplay Direct.

Bluegrass Outlaws debut album

Several years ago, a sibling band based out of Florida took the bluegrass world by storm when they won the 2012 SPGBMA Band Competition and set off on a powerful career that recently earned them a number of IBMA Awards, including Song of the Year and Album of the Year. Unless you’ve been living under a rock with your Bill Monroe box set, you probably know that this group is Flatt Lonesome.

Could a similar path to success be in the stars for the Bluegrass Outlaws, this year’s SPBGMA Band Competition winners? The group, fronted by husband and wife team Becky Webb Monk and Chris Monk, jumped head first into the bluegrass world after taking home first place during what was essentially their first public performance as a band. They recently released their debut, self-titled album, a twelve-track collection that favors the popular, mash-grass style.

The record is a solid mixture of original material and a few bluegrass favorites, often rendered in a straight-ahead, in-your-face style that fans of the modern traditional sound should enjoy. Chris’s banjo gets things started on No Regrets, a “take this job and shove it” tale sung forcefully by Becky. As she sings lines like “I’ve leavin’ here with no regrets, I’ve put in all my time. I’ve paid my dues, I’m out of here, no worries on my mind,” she sounds like she means it – she’s got better things to do, so she’s moving on. She wrote both this song and several others on the album, including Raging Storms, a similarly powerful number about a treacherous flood.

The lead single, Upper Big Branch Mine, was penned by Becky and Chris along with Becky’s brother Darrell Webb. It’s a dark number based on a 2010 mine disaster in West Virginia in which an explosion killed twenty-nine miners. The well-written song is a highlight of the album, and will likely touch home with many bluegrass fans, especially those in the Appalachian region. Special mention should go to Chris, whose banjo sets a tragic, haunting mood from the first notes. He also gets to show off his picking on his original instrumental, Timbercove, which allows all the band members to display some fiery, aggressive instrumentation.

Mandolin player Evan Maynard also contributed a pair of originals to the album, both of which are standout tracks. The mid-tempo Another Rainy Monday captures a life where “the forecast stays the same, broken hearts and pouring rain.” It’s a nicely-written portrait of a man who tries to escape his sadness on the weekends with “another dark haired girl who wants to hear another song,” but always ends up facing his loneliness when Monday rolls around. Ring on the Table is a strong number with a classic bluegrass theme – a no-good cheating woman, a husband with a gun… you get the picture. Maynard has a warm, smooth, country-style voice that works well with Becky’s commanding high lonesome vocals when the two harmonize.

The band dips into the classic bluegrass catalog for two tracks in the middle of the album. They give Down the Road a groove-filled, forceful vibe with some nice fiddle work from Cody Bauer. Bauer also gets to shine on Tennessee Blues, which lets the band try their hand at a slightly different sound – still traditional-leaning, but more delicate than the other material here. It’s an enjoyable version, reminiscent of Josh Williams’s cut of the song.

The Bluegrass Outlaws also offer up two Gospel songs, both written by Becky. God’s Watching Over You has a gentle, acoustic country sound and uses the words of a wise old man to remind both the singer and listeners that God is always there for us. Straight & Narrow Way, on the other hand, is a peppy toe-tapper and a fine example of traditional bluegrass Gospel. Clocking in at just over two minutes, it closes the album on an upbeat note.

The Bluegrass Outlaws is filled with skilled pickers who embrace energetic performances. Chris has a fine, driving style, while Becky keeps a strong, consistent rhythm on bass. Maynard, Bauer, and guitarist Wesley Wolfe prove that they can handle both fast traditional grass and more melodic, country-influenced songs with ease. Their debut is strong, and I’m looking forward to hearing more from them.

Though the album has been available for a little over a month, the Bluegrass Outlaws will celebrate with an official release party at the Down Home, a traditional music venue in Johnson City, TN, this Saturday, October 29. For more information about the band and their new album, visit www.bluegrassoutlaws.com.

Here I Am – Rebekah Long

Rebekah Long has chalked up an impressive bluegrass resume over the past decade despite often staying behind the scenes. Long was one of the first graduates of Glenville State College’s bluegrass program, and spent time playing bass with both Valerie Smith & Liberty Smith and Little Roy & Lizzy (she’s also Lizzy’s twin sister). She has also worked as a recording engineer, graphic designer, and video editor for various bluegrass artists and projects. Now, Long has released her first solo project, the aptly titled Here I Am, on LUK Records.

Here I Am is largely a collaboration with Donna Ulisse, who served as producer, contributed several original songs, and also provides harmony vocals throughout the album. As one might expect, there are touches of Ulisse’s sincere singer-songwriter style here; The Maple Tree and Me, penned by Ulisse, is a good example. It’s a thoughtful, gentle number that compares aspects of nature to the singer’s inner thoughts and feelings: “My mind is like a rolling sea, moving, always changing…” He’s Never Coming Back Again is another rolling, folky song, with a wistful melody aided by Justin Moses’s fiddle and Dustin Benson’s guitar. Co-written by Long and Ulisse, the lyrics contemplate the hurt that lingers long after a loved one chooses to leave.

Long takes on a few older country songs, as well. Bluegrass bands have been turning to Merle Haggard for inspiration for years, and Long chooses one of his most well-known numbers for inclusion here. She gives The Fightin’ Side of Me a straightforward, plainspoken delivery, backed by traditional-leaning instrumentation. Though Haggard released the song in 1969, the politically-charged lyrics will likely still ring true for many listeners today. Long also covers Terri Gibbs’s early 1980s hit Somebody’s Knockin’. The original had an eighties pop-country feel, but Long gives it a contemporary grass makeover. Scott Vestal’s banjo makes the song almost spooky-sounding, and Long fills the lyrics with the perfect amount of hesitation as she sings lines like “I’m getting weaker and he’s coming on strong, but I don’t wanna go wrong.” It ends up being one of the album’s strongest tracks.

Another standout is Hairpin Hattie, a well-written ghost story somewhat reminiscent of Becky Buller’s Didn’t Die. Long, Ulisse, and Rick Stanley wrote this imaginary tale of a woman’s vengeance on cheating husbands – both her own and others. The stark, stripped-back instrumentation gives the song an eerie, chilling vibe and Long gives a soulful vocal performance. The title track should also catch listeners’ attention; accompanied only by Vestal’s guitar playing, Long pleads for understanding and love.

Long worked with Tom T. and the late Dixie Hall on several projects, including the Daughters of Bluegrass albums, and she pays homage to the couple with two songs here. She covers Tom T.’s I Washed My Face in the Morning Dew, giving the philosophical number an upbeat, banjo-guided update. She, Ulisse, and Stanley also wrote Sweet Miss Dixie Deen, a cheerful, loving tribute to Dixie’s legacy.

On Here I Am, Long offers fans samples of several styles: positive, slice-of-life songs, country covers, stark heartbreak numbers, and more. Though the album is overall very enjoyable, she’s at her best with the stripped-down, singer-songwriter style tracks, when she can fill her voice with emotion and truly connect with the listener. Though several songs tend toward a more acoustic country or folk sound, bluegrass fans should have no qualms with her backing band, which in addition to those mentioned previously, also included Jesse Brock (mandolin) and Mike Bub (upright bass). Here I Am is a strong debut, and Long should be able to look forward to a warm welcome as a solo artist.

For more information on Rebekah Long, visit her website at www.rebekahlong.com. Her album is available from several online music retailers.

Swimmin’ Pools, Movie Stars – Dwight Yoakam

Can any song be turned into a bluegrass number? And furthermore, should it? Those are the questions I found myself asking as I listened to Dwight Yoakam’s new album, with the tongue-in-cheek title, Swimmin’ Pools, Movie Stars…. Yoakam lined up a backing band full of bluegrass music’s top talent and (unlike several other nineties country stars who have recently dipped their toes in bluegrass) set out to reinvent an album’s worth of songs he had recorded previously. As such, the album has a much different feel than, say, the earnestness of Alan Jackson’s The Bluegrass Album or Marty Raybon’s solid country-grass.

On the other hand, Yoakam has always had more of a honky-tonk style than those artists, and he stays true to that here. He doesn’t modify his singing, either toward the high lonesome or the smoother style preferred by many modern traditional acts. While it’s obvious that bluegrass instruments are being used, listeners will be hard-pressed to find anything resembling 1-4-5 drive, and the banjo and fiddle occasionally sound somewhat out of place, such as on Listen, with its swooping, California-in-the-sixties harmonies.

Where the album works, it works pretty well. Two Doors Down preserves the basic melody of the original, and both the style and the lyrics fit well in the bluegrass format. Yoakam’s vocals are soulful and emotional as he sings about trying to find solace in a bar, and Stuart Duncan’s fiddle adds an extra layer of lonesomeness. Adam Steffey’s mandolin and a healthy dose of swagger from Yoakam kick off What I Don’t Know, which has been given a full bluegrass makeover. It’s another track with lyrics that might easily be from a bluegrass song: “Death row in prison don’t look half as bad as a life filled with heartache over you, so if you’re playing those dirty little games, you better pray that I don’t find out the truth.”

Steffey also kicks off Please, Please Baby, which is a fun honky-tonk shuffle that allows the pickers to let loose a bit, especially Scott Vestal on banjo. Gone (That’ll Be Me) is the closest thing to straightforward bluegrass on the album, and also one of the biggest reinventions. In place of the groove-filled Bakersfield country-rock of the original, Yoakam’s crooning is set to banjo guided, traditional-ish instrumentation, as well as some hand claps and shouts. Home for Sale is an interesting mixture of Stanley-esque bluegrass and classic country vocals, with especially fine guitar from Bryan Sutton.

Two tracks that would-be listeners may be most intrigued about are Guitars, Cadillacs (perhaps Yoakam’s most well-known song) and the cover of Purple Rain, tacked on at the end after Yoakam heard of Prince’s passing. Guitars, Cadillacs lacks the punch and strut of the instantly identifiable original; it reminds me of when a decent bluegrass band is hit with an out-of-the-blue request at a festival and wants to have a little fun with it. Purple Rain is certainly unexpected, but it has an enjoyable, stripped-down arrangement with an organic feel. No, it doesn’t quite fit with the rest of the album, but it is neat hearing a song so sonically different from bluegrass performed in this style.

So what’s the verdict? Personally, I don’t think just any song can be transformed into bluegrass. The time signatures, tempos, vocal phrasing, and other elements of many songs – even from the country genre – make it so that they can’t just be crammed into a box with a banjo and called bluegrass. Sure, it’s cool hearing Dwight Yoakam sing with bluegrass style accompaniment and giving recognition to the style of music we all hold dear. And several of the songs here could easily make great bluegrass songs (I can hear someone with a big, rich voice giving a classic country treatment to Two Doors Down, for instance). But this is not an album for listeners looking for straightforward bluegrass, traditional or progressive either one. If you’re looking for something a little different – or if you really like Dwight Yoakam – check it out.

For more information on Swimmin’ Pools, Movie Stars…, visit www.dwightyoakam.com. The album is available from a number of popular music retailers.

Space age flat pick from I-Tone

When it comes to learning a craft, there are lots of insider tips, tricks, and so called “trade secrets” out there – the stuff that “only the pros know” and everyone else is dying to find out. This can be especially true for musicians. This is where people get sucked into buying specific items like pedals, tuners, and other gadgets just because their favorite musician uses “the thing” or someone at their local music store (where the rubber always meets the road) convinced them they had to have it.

All this stuff promises to make life easier for the musician, but the sad fact is that most is all hype and little to no delivery. On the flip side, every once in a while something comes along that just works. The I-Tone, although it sounds like something that could easily be a dating site for single banjo pickers, is the latest gadget to come across my desk.

Literally made from material used on the Space Shuttle, this new flat pick is literally something out of this world! It’s just plain good. Without being overly technical, the I-Tone 41 is made of a material that has a really high wear tolerance and density, and is solid as a rock. At .041 of an inch in thickness, the iTone is a perfectly shaped and beveled flat pick that is sure to make a believer out of anyone who remotely likes the shape and thickness of this specific design.

The pick was created in collaboration between Shawn Lane of Blue Highway, and Brad Poore, an engineering associate at Clemson University. Brad is also a musician, and brought his nearly two decades of experience in design, fabricating, welding and construction to the table for this project.

It’s an absolutely great alternative to picks from manufacturers like Blue Chip. The only downside is that it is currently available in only one size and shape. As a teardrop guy who used to religiously use triangle shaped picks, I have to say it’s not my favorite design ever, although if they made a teardrop shape in it I’m sure I’d purchase several.

In fact, I liked the I-Tone so well that regardless of the shape, I’ve got a couple on the way. I believe in it and bet that you’ll like it too. Next time you’re in the market for a good flat pick, make sure to give one of these a chance. It’s definitely worth a strum or two.

The Shawn Lane I-Tone pick sells for $35 each, with free shipping within the United States ($3 international). All orders placed during this, their first week on offer, will be entered in a drawing to win an autographed set of Shawn’s solo albums (10/4-10/11/16).

James King Memorial at World of Bluegrass 2016

Sometimes it’s difficult to cope with the fact that many legends within bluegrass are aging. It’s especially tough hearing about their ailments, and worse yet when we all too often learn of their passing. We’ve lost far too many of them in the last year. One highlight of this year’s World of Bluegrass week in Raleigh, NC, is sure to be the session dedicated to the memory of the late James King, who passed this May.

Brought together by Rounder Records’ Ken Irwin to honor James’ life and musical legacy, the session is set to be one of the most poignant experiences of the week. I had the chance to sit down with him earlier in the week and talk about Friday’s presentation. “It’s a time for people to come in and share appreciative memories of James,” he said.

As we talked about James’s life, it was easy to see how much King meant to Ken. He was loved by many and there are several folks scheduled to be in attendance on Friday morning. Becky Rhodes, Adam Poindexter, and Kevin Prater are sure to be there among others such as Steve Chandler (who engineered most of James’ recordings), and Danny Paisley, who I learned had already signed a contract to make a duo record with James before his passing.

If you’re going to be in Raleigh tomorrow and happen to like traditional bluegrass, make sure you come to this session – Celebrating the Life and Music of James King, at 10:00 a.m. in room 304 of the Raleigh Convention Center.

G7 Heritage Series Capo

It’s not terribly uncommon for companies to release new products or gadgets at trade shows and conventions. Such is the case with at least one company participating in the IBMA World of Bluegrass festivities this week in Raleigh, North Carolina. The good people at G7th capos are debuting a new product line that is sure to please, their Heritage Series capos.

The overall design of these capos is something acoustic players will be accustomed to, in that it is a yoke-style capo. There have been many predecessors: Paige, Elliott, McKinney, etc., so forth, and so on. Like the aforementioned makers, the Heritage Series capos are made to the highest quality standards and the fit and finish is solid. Available for both banjo and guitar, they are made from stainless steel and come in standard and wide neck widths. As an added bonus, each capo comes with its own leather carrying case that includes room to store your picks.

These capos aren’t carbon copies, though! They contain a technology that allows the capos to form to the fingerboard radius of any musical instrument. This feature, referred to as Adaptive Radius Technology, or A.R.T., allows the capos to press down firmly and evenly against all the strings by use of capsulated silica gel located behind the string pad (the piece that physically presses down on the strings).

The truth is this: they just work. Next time you’re looking for a capo, take a look at these. I’ve only used them a short while, but I think I like it.

Welcome Home – Gospel Plowboys

Mountain Fever Records has a good thing going over in the hills of southern Virginia. With a roster that includes enduring favorites like Junior Sisk & Ramblers Choice and Grasstowne along with a host of rising stars such as Mountain Faith, Volume Five, and Dave Adkins, the label consistently puts out music that is praised by radio and fans alike. One of their most recent additions is the Gospel Plowboys, a six-piece band based in Salisbury, North Carolina. They’ve just released their second album (their first for Mountain Fever), a traditional-leaning bluegrass Gospel record titled Welcome Home.

One of the signature aspects of bluegrass Gospel music (and Southern Gospel, for that matter) over the years has been closely-knit harmonies, often in a trio or quartet format. From the first few seconds of opening track, Dearest Friend, it’s obvious that the Gospel Plowboys have their vocals down pat. The singers seem to be effortlessly mixing their voices, with the different parts gliding in and out flawlessly. It’s good stuff, as is the a capella closing track It is Well With My Soul, which offers a wonderful vocal arrangement.

Several songs here will be familiar to almost all listeners. Bill and Gloria Gaither’s Because He Lives has become a popular hymn both onstage and in churches. The version here has simple, gentle instrumentation (with nice country-style fiddle from guest Ron Stewart), but the group sings the number with great conviction; you know they really mean it when they sing “life is worth the living just because He lives.” There’s also a peppy Daniel Prayed, with a nice mandolin intro from David Murph. It falls somewhere between the Stanley Brothers’ cut and the more recent Patty Loveless recording, with a good modern traditional sound.

On the more contemporary side of things is the title track, an acoustic country-leaning number written by Billy Fields. It’s a well-written song about being welcomed into heaven and what might await us there. The vocals are, yet again, spot on. The earnest Lord I’ll Go On for You has a similar feel, and finds the singer declaring that no matter how bad things get, he will hold fast to his faith because he knows the Lord will always be there for him. Saved by the Blood has a joyful, praise song vibe, with lyrics thanking God for salvation.

Red River, a traditional hymn, is a highlight of the album. Like several of the songs here, the instrumentation is stripped down, allowing the lyrics (and the vocals) to be the star of the song. The “red river” of the title refers to Jesus’s blood, and the singer shares his thankfulness that it covers his sins: “each time I’ve faltered and cry in my shame, then the red river flows o’er my name.” Bill Castle’s The Dream, which listeners may remember from IIIrd Tyme Out’s recording several years back, is another standout. Castle is an excellent songwriter, and this is a moving number.

Welcome Home is a very strong major label debut from a group that features some of the clearest, smoothest voices you’re likely to hear in today’s bluegrass Gospel. The band members – Andrew Brown (upright bass), David Brown (guitar), David Murph (mandolin), John Goodson (banjo), Kris Miller (guitar), and Michael Jenkins (lead guitar) – all seem to be solid musicians as well, and definitely have a heart for the type of music they’re performing. They fill the songs with a strong sense of faith in God and belief in the message they’re sharing. Fans of bluegrass Gospel will want to take a listen.

For more information on the Gospel Plowboys, visit their website at www.gospelplowboys.com. Their new album can be purchased from several music retailers.

Original Traditional – Blue Highway

When a band has been around for over twenty years (with a membership that has rarely changed), fans come to expect certain things. In the case of Blue Highway, which releases its eleventh studio album, Original Traditional, today, we expect to hear strong lead vocals, impeccable musicianship, contemporary grass with an eye toward tradition, and perhaps most of all, some of the best original songs being written today. Longtime listeners will be glad to know that the new album succeeds on all counts.

For their past several albums, Blue Highway has only recorded all-original material written by members of the band, with the exception of a few updated arrangements of public domain numbers. As the first part of the album title suggests, this record is no different. However, as the second half of the title indicates, the songs here have a common theme, at least when it comes to their style – they almost all have a decidedly traditional vibe, perhaps more so than the band’s other recent output.

A contribution from Shawn Lane opens the album, kicked off by gritty banjo that perfectly matches the dark story told in the lyrics. A take on the classic bluegrass theme of a cheating woman and a vengeful husband, Don’t Weep for Me finds the song’s narrator readily admitting his guilt while also revealing a heartbreaking twist at the end of his tale. Thoughtful guitar from Tim Stafford opens another Lane composition, Top of the Ridge, a reflective, metaphorical piece about a place where “a peaceful wind is blowing, and the pain I had is gone.” Though the song itself doesn’t necessarily sound like something Ralph Stanley would have recorded, Lane seems to channel Stanley’s earthy, soulful vocals on the chorus.

Both What You Wanted and A Long Row to Hoe are classic Blue Highway, though in different ways. Gaven Largent’s dobro guides both numbers, proving himself both a fine replacement for Rob Ickes and a strong musician in his own right. What You Wanted is both bouncy and lonesome, with the song’s narrator trying to determine why the woman he loves wants “to leave a love so real.” A Long Row to Hoe, on the other hand, is about hard work and struggles, with a harsher, more urgent sound to match.

Last Time I’ll Ever Leave This Town is an enjoyable upbeat number with smooth lead vocals from Wayne Taylor; it ties together leaving, loving, and mining with a great catchy tune. Taylor also handles the lead on The Story of My Life, taking listeners through the rough-and-tumble life of a hard-working drifter who left home at thirteen, tired of an abusive stepfather. The song comes full circle in the last verse “with the click of a hammer,” though I won’t spoil the ending.

Stafford, who was named IBMA Songwriter of the Year a few years back, offers up several strong songs, as well. If Lonesome Don’t Kill Me speeds by at a furious pace (clocking in at barely over two minutes), with rapidly rolling banjo from Jason Burleson. It’s a solidly traditional drinking and losing song – think Junior Sisk. Stafford takes the position of a scorned man who now knows better than to worry about a hateful woman on She Ain’t Worth It. It’s a fun, bluesy number with a bit of swagger that both Stafford and the rest of the band seem to have a good time with.

The album’s standout song is perhaps Wilkes County Clay. A co-write between Stafford and frequent writing partner Bobby Starnes, it’s based in historical truth and shares part of the background of the popular folk song Tom Dooley. The story trickles out bit by bit, introducing listeners to the key players in the real-life murder ballad: jealous Annie, naïve Laura, and poor Tom Dula, who got caught in a mess not of his own making. Haunting and suspenseful, with an atmosphere aided by Lane’s fiddle, it’s likely to be a listener favorite.

Original Traditional is a masterful album by a group of artists who are masters at what they do. The four long-time members of the band have been hailed for their command of contemporary bluegrass for years, and Largent handily proves himself their equal. Fans of Blue Highway will not be disappointed, especially those who particularly enjoy the sound from some of their earlier albums.

The new record is available now from Rounder Records and can be purchased from a variety of music retailers.

Dig In The Dirt – The Farm Hands

Even if you’re not that familiar with The Farm Hands, you’ve probably heard their recent single, Dig in the Dirt, which has one of the catchiest choruses I’ve heard lately. The song, which is the title track from the group’s latest album, has found quite a bit of success on bluegrass radio and on the Bluegrass Today charts. It’s a great introduction to the rest of the album, which features twelve tracks of well-written, strongly performed bluegrass Gospel.

This is the third album from The Farm Hands, a Nashville-based four-piece group that has racked up a number of trophies at the SPBGMA Awards in recent years, including Vocal Group of the Year and Gospel Group of the Year in 2016. Their music leans towards the traditional side of things, with dashes of southern Gospel, classic country, and contemporary grass when the song calls for it. While many of the tracks have an overtly Christian message, others simply offer positive and uplifting thoughts to listeners.

Dig in the Dirt is the opening track, kicking things off with a peppy fiddle intro from guest Kimberly Bibb. Written by guitarist Keith Tew, it’s a cheerful, toe-tapping number about the virtues of hard work. The singer tells of lessons passed down from his father, reminding listeners that “When hard times are calling, there’s still mouths to feed… And praying’s not the only thing we do on our knees.” Bassist Daryl Mosely’s All the Way Home also honors fathers, using the story of a young boy trusting his father to guide him home from the dark woods to lead in to the same boy learning to follow and trust in the Lord.

It’ll Getcha Where You’re Goin’ uses a similar storytelling structure, as a father shares with his son that both a hand-me-down Ford and a Bible will get him where needs to go in life. Bluegrass fans may recognize the Jerry Salley/Kelley Lovelace co-write from Salley’s 2012 recording of it, or from the version cut by country duo Joey + Rory. Homefolks also came from Salley’s pen (as a co-write with Carl Jackson); it’s a tender reflection on thoughts of home and family when you’re far away, with a gentle melody and an acoustic country sound. I Would has a similar country-tinged feel, with tasteful dobro from Tim Graves. It’s another strong contribution from Mosley, and reminds listeners of a powerful lesson – that “no matter who’s watching, no matter who sees,” we always know when we have made a wrong choice, and so does the Lord.

Mansion on Main is one of the album’s highlights, especially for fans of the classic bluegrass sound. Tew opens the number with skilled traditional guitar, while Graves channels his uncle Josh with excellent old-school dobro. The vocals are earnest and sincere as the singer tells the story of a homeless man who, even though he has lost most of his worldly possessions, spends his time sharing Jesus with others. Closing track I Saw the Light throws a little southern Gospel into the traditional sound, with top-notch harmonies and exuberant instrumentation. I’d enjoy hearing this one live.

With Dig in the Dirt, The Farm Hands have put together one of those great, well-rounded albums that has a little something for everyone but still feels like a cohesive effort. The band does a fine job of meshing together slightly different styles to create a truly enjoyable record. Graves’s dobro work is particularly of note in this regard. He, Mosley, Tew, banjo player Bennie Boling (who has since left the group), and guest fiddler Bibb are a talented group and I’m looking forward to hearing more from them.

For more information on The Farm Hands, visit their website at www.farmhandsquartet.com. Their new album is available now from Pinecastle Records, and can be purchased from several online music retailers.