John Curtis Goad, Author at Bluegrass Today

A second Skaggs Family Christmas

What better way to begin a Christmas album than with the old Tex Logan tune, Christmas Time’s a Coming? If you ask Ricky Skaggs, you’ll probably find out quickly that there is none, as it’s the first track on a recent release by Skaggs Family Records. On this project, A Skaggs Family Christmas: Volume 2, Ricky is joined by The Whites and several members of his family to create a 10 song album of great holiday music.

The first Christmas album from Skaggs and Company, entitled A Skaggs Family Christmas: Volume 1, came out in 2005, and included thirteen songs ranging in scope from Let it Snow, Let it Snow, Let it Snow to other popular tunes like Deck the Halls.

Now, with the release of their latest seasonal creation, Volume 2, they have put their spin on even more Christmas-related material. With this new project, The Skaggs Family has continued to bring the Yuletide cheer with another collection of both new and previously recorded material. However, this album comes with an added bonus, as a companion DVD is conveniently packaged alongside the audio CD within a Digipak format. Songs the Skaggs family has chosen for Volume 2 include newer pieces like What Songs Were Sung, alongside several classic sing-along tunes like Silent Night, Joy to the World, and The First Noel. There’s no need to worry about forgetting the lyrics to these tunes at a family singalong, as they’re included in the CD booklet!

The use of varied instrumentation throughout this set makes it unique: a string section, piano, percussion and Ricky’s regular band, Kentucky Thunder are all featured. The DVD is particularly interesting as it is of the utmost quality, and includes 26 tracks featuring the Skaggs family Christmas show with which they have been touring for eight years.

Comments like: “You can teach your kids how to count on this song” (in reference to traditional tune Children Go) and humorous stories throughout the DVD while performing song introductions allow the listener to draw closer to this family of performers covering three generations. Other remarks like “you might need to readjust your laundry” are also hilarious as the family invites the crowd at the Ryman Auditorium in Nashville, TN to join them on Joy to the World as the concert closes.

Some instrumental tracks like Deck the Halls are arranged with a more traditional bluegrass feel, while other pieces, such as Luke Skaggs’ original instrumental Flight to Egypt, incorporate the Nashville Strings and percussion, and display complex musicianship throughout. This album is a great addition to any Christmas music collection and is sure to get listeners in the Christmas spirit no matter what time of year.

For a list of Christmas performance dates and other information regarding the music of the Skaggs family, such as RFD-TV show times for their live Christmas show experience, visit them online.

A Passing Glimpse – Pharis and Jason Romero

One might think that a cabin deep in the Canadian wilderness may be an unusual place for masters of old-time southern music to live and work, but Pharis and Jason Romero prove this idea wrong. Not only does this husband-and-wife duo have the reputation for creating some of the finest handmade banjos in North America, they also sing and play old-time and early country music beautifully. In A Passing Glimpse, their debut project on Lula Records as a duo, their talents are fully expressed in a 15 song compilation of both previously recorded and original material.

Unlike many artists who choose to create recordings filled with extra instrumentation, the material Pharis and Jason have selected for their first duo project is performed brilliantly by just the two of them. This album’s stripped-down, bare bones style gives a unique flavor. Their harmonies blend just as well as the sparsely included solos by Jason mix with Pharis’s superb rhythm guitar accompaniment. Pharis contributes four new original compositions, while the first track, Forsaken Love, is the first piece this couple wrote together.

Pharis’s penning of five distinct pieces within this project has placed her own creative measures comfortably beside melodies derived from decades-old recordings which she and her husband credit for their interpretations of public domain works. For instance, the new song and title track, A Passing Glimpse, which deals with the subject of reflecting upon one’s past, fits well before My Flowers, My Companions, and Me, which they learned from a circa-1958 recording of an unknown singer. Other standout songs include Where is the Gamblin’ Man, an upbeat yet alarming story taken from a recording by Alan Lomax, the obscure Out on the Western Plains, and the Carter Family’s Engine 143.

Jason’s excellent banjo work, played without the use of picks or synthetic heads on his own brand of instruments, is exemplified by his take on the traditional instrumental Cumberland Gap, while his talents on lead guitar are also displayed throughout the project. His vocals are also displayed alongside his wife’s as the two perform in a fashion similar to early brother duets to create a sound reminiscent of a 1930s record, only without the crackle and hiss of old phonographs. Pharis does not take a backseat to her husband, however. Instead, the efforts of each performer combine to create a soothing listening experience. Her smooth lead and harmony vocals, as well as her consistent rhythm guitar playing tie the album together.

This recording fits well beside those made years ago by artists such as The Carter Family and Uncle Dave Macon, with newer songs such as Dottie Rambo’s It’s Me Again Lord also performed in this older-sounding style. A Passing Glimpse is sure to help place this couple alongside these historic artists, proving both their first-rate whittling and musical abilities.

More information about these artists and the banjos they craft can be found on their web site.

Crowe on the Banjo

From receiving his first banjo as a Christmas present at the age of 13 to his IBMA Hall of Fame Induction in 2003, very few people have made as big an impact on a musical genre as J.D. Crowe has had on bluegrass. The recent book Crowe on the Banjo: The Music Life of J.D. Crowe, does an admirable job of telling his musical story.

Authored by the late Marty Godbey, this ten chapter tome covers Crowe’s illustrious career, including a wealth of comments and interviews with his fellow artists as well as personal discussions with J.D., over the course of 193 pages.

This book covers it all. It begins with the story of Crowe’s introduction to the five string banjo at a Flatt & Scruggs performance, and continues until arriving at the present day New South. Much of the book retells stories from Crowe’s time on the road with a variety of bluegrass bands. Anecdotes from his years with Jimmy Martin lead into descriptions of each version of J.D.’s own bands, the Kentucky Mountain Boys and the New South. Mixed within are personal stories from Crowe and other musicians with whom he has played throughout the years, as well as little-known tidbits about Crowe’s musical resume – such as the fact that he was a Blue Grass Boy for one show in 1965.

Godbey goes into great detail about several musicians who have worked with Crowe over the decades, and numerous other musicians are mentioned. She profiles these artists, giving their musical backgrounds along with their connection to Crowe. It’s interesting to see just how many bluegrass and country musicians have learned from or been influenced by him over his career.

This book depicts Crowe as somewhat of a preservationist of bluegrass traditions, as his work with the Bluegrass Album Band exhibits. With a keen ear and fondness for multiple musical styles, his contributions to the genre have also brought the music to a new plane.

Like many biographies, some of the best parts of Crowe on the Banjo are the personal accounts. Not only does Godbey examine particular recordings and concerts, but she also makes use of humorous tales from both Crowe and other musicians. It is easy to envision the stories she includes, like the time Jimmy Martin and J.D. Crowe attended an Elvis concert when the two lived in Detroit. The author also includes several stories about what life on the road is like for a member of the New South. As it turns out, Crowe is a bit of a trickster – even carrying an extra suitcase filled with gags on occasion.

Throughout the years, members of Crowe’s band have always played practical jokes on each other as well as other musicians whom they have known. For instance, while traveling one night shortly after the passing of Lester Flatt, as Crowe and Co. passed Earl Scruggs’s bus, Keith Whitley promptly began performing an imitation of Flatt across the CB radio: “Earl… I’m back.”

Previous members have also found their shoes filled with wet paper towels, and now and then interesting items have made their way inside of instruments while on the road; most notably, toy cars inside of Phil Leadbetter’s dobro. Also, a favorite prank among members seems to be loading each other’s cigarettes.

Godbey first saw Crowe perform on Easter weekend in 1968 when she and her husband made their first overnight trip to see a concert. Before passing away unexpectedly last year, she closely followed Crowe’s career and collaborated with him to produce this captivating volume. Frank Godbey, Marty’s widower, should also be commended for his work in seeing this text through to completion, as Crowe on the Banjo was still in the production stage at the Illinois Press when Marty passed.

Having taken part in a musical genre for longer than the style itself has been set apart from other forms of music – bluegrass diverged from country music at a later time – Crowe remains one of the most influential musicians in the field. He has released at least 13 albums and performed on many others, most notably the Bluegrass Album Band recordings.

J.D. Crowe and the New South still play many dates each year, even performing outside the United States on occasion. As this book illustrates, Crowe is truly a master of his craft. Crowe on the Banjo, the first biography of this talented musician, is definitely a must-read for anyone interested in the musical career of J.D. Crowe.

Big Trouble from The Dang-It Bobbys

Over the past several decades, the definition of bluegrass has continually expanded from its origins with Bill Monroe and the Bluegrass Boys. The new album Big Trouble from The Dang-It Bobbys, which hit shelves September 20^th, further stretches that definition. This album has all the makings of a time-honored Appalachian recording, with banjos and other long-established bluegrass instruments being combined with spoons and hambone. However, The Dang-It Bobbys create their own spin on tradition by also incorporating flutes, clarinets, percussion, kalimba, and the melodica – a harmonica and keyboard hybrid.

This is no cookie-cutter project. The band has drawn from many different musical influences to produce this all-original recording. In fact, lead vocalist Kris Bauman wrote or co-authored all of the thirteen tracks. A song concerning the failed bribery of a Mexican policeman due to poor memory of high school Spanish skills is not the typical focus for a folk album. However, a title tracks like this helps bring listeners closer to lyricists. Big Trouble also has an intriguing Spanish music feel, complete with some lyrics in Español.

Some of tracks included on this project seem to be in the vein of Appalachian music while others fit well into the realm of Americana. Instrumentals Whiskey Strut and Roadkill Jerky are two that have a traditional feel. Whiskey Strut is played in a light and bouncy style, and should appeal to fans of earlier eras of bluegrass. Roadkill Jerky is an interesting banjo tune that includes a harmony part and an atypical chord progression.

Some tracks exhibit singing styles reminiscent of other musical genres. Songs like My Michelle and Heading Out have these more progressive sounds. Emo and indie bands like Dashboard Confessional and Death Cab for Cutie are examples of groups which seem to have influenced Bauman.

With the exception of a couple instrumentals, almost everything about this album is contemporary. This thirteen track, thirty-seven minute compilation of tunes sits somewhere between the sound of a bluegrass jam band and emo-flavored indie rock. In fact, if the bluegrass sub-genre Blemo existed (Bluegrass/Emo), this would be a good fit. Nevertheless, the extended use of percussion and instruments commonly associated with other genres makes this album unique.

This album has the potential to appeal to a wide array of listeners, especially those who have an appreciation for Americana styles. While The Dang-it Bobbys vary from traditional numbers, musicianship throughout the record is solid. Each track resets the listener’s mind and allows a new journey to occur.

If you’re tired of 1-4-5 drive, you might want to take a listen or check them out at a live concert sometime, especially if you happen to be in the Brooklyn, NY area where the band performs frequently.

More information regarding the Dang-it Bobbys can be found at www.thedang-itbobbys.com.

Degree program update from ETSU

For almost thirty years, East Tennessee State University has been known for its efforts to promote and preserve traditional Appalachian music. Under the initial supervision of Jack Tottle, then Raymond McLain, and now current program director Daniel Boner, the original but limited instrumental instruction and band classes have grown into one of the largest university-sanctioned music programs in the country to focus on this style of music.

In the spring of 2006, the Bluegrass, Old Time, and Country Music program at ETSU further expanded from providing several traditional music courses to an academic minor in the subject. Since that time, the program has been approved to grant the first official four-year Bachelor of Arts degree in Bluegrass, Old Time, and Country Music Studies.

Supported by the Tennessee Board of Regents and the Tennessee Higher Education Committee, this unique program has grown exponentially in a very short time. According to Boner, the number of students who have decided to declare the major in its short existence is “astonishing,” with enrollments greatly exceeding initial predictions and expectations. As of October 2011, 61 students have declared the Bluegrass, Old Time, and Country Music Studies major, a number which surpasses estimates projected for the major’s fifth year.

This program is overseen by an all-star list of faculty members, including multi-award-winning artists such as Adam Steffey and Hunter Berry, who conduct over 240 individual lessons weekly. 28 bands, in which students can polish their performance skills, also meet regularly for credit.

All bands are required to perform a minimum of two times per semester, and many of these bands perform at large events on regional, national, and international stages. In past years, program bands have been invited to perform at the Smithsonian National Folklife Festival in Washington, DC, NATO Headquarters in Brussels, Belgium, and in tours of nine foreign countries. In fact, this last summer three groups from ETSU performed in Europe: the Bluegrass Pride Band in Germany, the Old Time Pride Band in the Czech Republic, and the Celtic Band in Scotland and Northern Ireland.

Scholarships specific to the program are presented yearly. Recently, the ACMA/Leon Kiser Memorial Scholarship was established to provide one year of in-state tuition to a BGOTCMS major or minor. Last year’s recipient, Dwayne Anderson, currently plays bass for Darin and Brooke Aldridge. The latest recipient is yet to be announced.

Students may also apply for Public Performance Scholarships which waive the additional cost of out-of-state tuition.

Many program students also perform in East Tennessee, or with traveling bands. Some of them have begun releasing their own albums, a number of which were recorded in the ETSU Recording Lab, engineered by Recording Lab Manager Ben Bateson. Recent products of the recording lab include solo projects by students Trae McMaken and Haley Stiltner, while the ETSU Celtic Band finished their album A Carrying Stream this past summer. The program director is also eager for more projects to be released in the near future, with a compilation of student-written material expected shortly.

For more information regarding student performances or Bluegrass, Old Time, and Country Music Studies at ETSU, please visit them online, or contact them by email at bluegrass@etsu.edu.

Doc Watson – Blind But Now I See

Many musicians have carved out their own niches in folk music, but few have accomplished as much as one man from Deep Gap, North Carolina. In his latest book, Blind But Now I See: The Biography of Music Legend Doc Watson, Kent Gustavson draws from many sources to tell the iconic performer’s life story. This 327-page book is the first comprehensive biography of Watson, and is comprised of twenty chapters which touch on various episodes in Doc’s life, and include dialog taken from interviews with artists like Jerry Douglas and Ricky Skaggs.

Interviews are what make this book unique. Many recording artists who have known and been influenced by Doc throughout the years, such as Tommy Emmanuel, Tony Trischka, Sam Bush, and Warren Haynes, give commentary on Doc’s contributions to music. In one passage, Ricky Skaggs comments on Doc’s early career: “He was just a one man band… I can’t imagine what it would have been like to see him in the ‘60s and early ‘70s.” This and other similar observations prove just how influential Doc has been to several generations of recording artists.

Gustavson also includes information regarding Doc’s employment as he has dealt with blindness. Since he was a child, he had received assistance from the state. One of his proudest moments came in 1963, when, due to his newfound popularity through his musical endeavors, he was able to support his family by himself for the first time.

Excerpts taken from oral histories and documents, such as the letter from the Department of Public Welfare which helped him be removed from state assistance, bring the reader closer to Doc. Instead of being a distant famous figure, he becomes more like a close friend. The reader learns about details of his personal life as well as his professional career. Many of the most interesting portions of the book deal with his childhood and life before he became well-known.

Particularly captivating are the stories about how a young Doc first began playing various instruments. The book states that Doc was first exposed to music through his family and church, where his father led the choir. “He knew church, family, and little else” back then. However, at 10 years old he was sent to the Raleigh School for the Blind and received four years of formal schooling before leaving.

At this school, Doc received an education rich in music. As the book explains, Paul Montgomery (another student at the school) taught Doc how to play the guitar. However, Paul was left-handed and played a standard guitar upside down, leaving Doc to figure out on his own how the chords should be played by someone who was right-handed. Another childhood story particularly stands out – that of a young Doc creating a homemade “barn-banjo” by stringing a piece of steel wire to the door of the woodshed, then using it to keep time while he played his harmonica.

This book covers almost every aspect of Watson’s life, with emphasis placed on some of the turning points, such as his ‘discovery’ by Ralph Rinzler in the early 1960s which kick-started his rise to fame. Several chapters near the end of the book are spent detailing the death of Doc’s son (and musical partner), Merle. Friends and fellow musicians reminisce on the change in Doc after Merle’s death, with Gustavson concluding that “it was if someone reached into Doc’s chest and pulled out a large portion of his heart.” Throughout the pain, Doc continued playing and even assisted in creating a music festival to honor his son’s memory – MerleFest – which has become an annual event blending traditional mountain music with up-and-coming folk, bluegrass, and Americana acts.

Gustavson, a radio show host, author, professor, and musician who holds a Ph.D. in Music from Stony Brook University, has thoroughly investigated his subject. While the constant quotes from Doc, his family and friends, and various musicians seem to break up the flow of the book at first, they ultimately create a work which blends historical research with personal reflections.

Approaching ninety years of age, Doc continues to perform as much as possible, appearing at several events each year. His music transcends many genres and continues to inspire new performers daily. According to Gustavson, “No one in the history of acoustic music has had the ability that Doc Watson had, especially in his prime, to entertain an audience.”

The first fully comprehensive biography Watson, Blind But Now I See is a must read for those interested in Doc’s life and career. His story is truly inspiring.

Tortoguard from Josh Pickett

We reported in May that guitar player Josh Pickett, formerly of Amber Collins & No Speed Limit, had made the move to Larry Cordle & Lonesome Standard Time. Now we are pleased to announce his latest venture, Tortoguard Pickguards of Cana, Virginia.

Pickett decided to attempt making his own custom pickguard after collaborating to build a custom mahogany dreadnought with famed guitar luthier Wayne Henderson a few years ago. Having already fabricated every other item on the guitar except for the Waverly tuning machines, he thought “Why do I want to buy a pick guard to put on when I can make one myself?”

Through experimentation and careful research, Pickett modeled his first piece after traditional tortoise shell. Then, at the urging of others, he began to craft them for close friends, having created about ten in total before deciding to launch a business with partner Eddie Day a few months ago. Josh was well familiar familiar with the traditional look of tortoise shell pickguards, and concerned about both their cost and the tricky legalities involved in buying or selling them. The international trade of tortoise shell became illegal in the 1970’s, and Pickett has developed what would appear to be a carbon copy.

Each of Tortoguard’s standard handmade pieces comes with a 100% satisfaction guarantee and possesses its own set of unique qualities due to the liquid and dying processes that Pickett and Day use during fabrication. Customized pieces are available upon request, as is duplication of existing pickguards of every size and type. One customer, a lady who takes private guitar lessons from Pickett, even had her name subtly included on a piece she ordered recently.

Currently the company offers five authentic-looking tortoise shell styles. They include 30’s and 40’s likenesses as well as newer-looking creations. Tortoguard is also the first company to offer a regular production guard like the one appearing on one of the most prominent guitars in bluegrass music history: the 1935 Clarence White/Tony Rice Martin D-28.

These pickguards which are peel and stick ready, are moderately priced at $25.00 – $35.00 each, not including shipping and handling.

More details can be found at www.tortoguard.com.

On the Brooklyn Road – Nell Robinson

After singing for twenty plus years almost exclusively within her car, Nell Robinson has set off on a new musical journey and solidified her place within roots music circles with her latest album. She includes many styles (ranging in scope from old time to Cajun-themed pieces) on her new album On the Brooklyn Road, creating mass appeal with this broad stretch of tunes. Drawing from her Southern roots within the small town of Red Level, Alabama, Robinson (singing under a pseudonym taken from her grandmother) allows the listener to connect with her through stories as well as songs.

The talking tracks within this album contribute a unique flavor which is not often seen in today’s mainstream music. Seven of the twenty-one tracks included on this disc are field recordings of her family exchanging tales which have been passed down through the generations. Stories lead into both self-penned songs and familiar selections like Albert Brumley’s tune Turn Your Radio On, providing hilarious anecdotes which act as introductions to each respective song. These stories relate situations that listeners with rural roots across America may find both familiar and humorous. Radio Reception stands out in particular, featuring young boys figuring out that peeing on a ground wire has the same effect as pouring water on it when attempting to pick up better radio reception. Through these glimpses into Robinson’s family history, listeners are treated to a more personal experience, bringing them closer to the artist.

Robinson’s inclusion of five original pieces gives validity to her songwriting skills. Several tunes, such as Wahatchee, which is set during the Civil War, document historical figures and events that listeners will find intriguing. Other songs offer a more modern glimpse of life: Don’t Light My Fire, a clever tongue-in-cheek song depicts a woman who simply does not need another deadbeat man in her life and displays Robinson’s talents well.

Robinson’s voice shares similarities with Emmylou Harris as she covers material previously recorded by legends like Hank Williams, Elvis Presley, and Loretta Lynn. Her interpretation of Lynn’s I’m a Honky Tonk Girl played in a stripped down style with guitar and dobro is particularly moving while other pieces like the two bonus tracks are light and bouncy. In a tribute to the 1930’s sister act the DeZurik Sisters, Robinson is accompanied by Cary Sheldon to perform two pieces: Big Ball in Texas and the Crawdad Song. Joined by many prominent musicians like John Reischman, Nick Hornbuckle, and Rob Ickes, the instrumentation is also excellent throughout.

It is only fitting that the last track on the album is yet another story delivered by Uncle Marc, who conveys several of the album’s narrations. Robinson’s mixture of creative songwriting, top notch musicianship, and comical stories allows her to achieve her apparent goal of connecting with fans. Both witty and sweet, this album shows that this self-described “late bloomer” is just now beginning to blossom.

Crash Course in the Blues

From the front cover’s depiction of a woman walking out the door in red high heels to the sad songs included within Crash Course in the Blues, Wildfire reminds us with their late 2010 release that some of the best tunes are lonesome. This is the band’s 4th release since its formation in 2000, and with the concrete musical skills exhibited here by Robert Hale (guitar), Curt Chapman (bass), Matt Despain (Dobro), Steve Thomas (mandolin, fiddle) and Johnny Lewis (banjo), there is no doubt that more good music lies ahead. Adding to the already great instrumentation, Scott Vestal also makes an appearance on the title track.

Even though Hale and Chapman are the last remaining original members of Wildfire, their latest album remains rock solid. Crash Course in the Blues reached #7 on XM Radio’s Top 40 Albums in April 2011, and their cover of the Keith Whitley/Don Cook song Daddy Loved Trains also found chart success, peaking at #4 on Sirius-XM radio station Bluegrass Junction’s Top 40 Tracks.

The album includes both traditional sounding bluegrass tunes like Paint This Town, as well as songs with more progressive country flair, such as pieces originally performed by contemporary artists Lionel Richie and Vince Gill. Wildfire’s version of Richie’s Oh No is a bit unexpected, but it actually fits well into their repertoire. Lifetime of Nighttime, the second of two Gill pieces on this project, is particularly haunting with its description of a blind man’s anguish. Hale’s own impressive lyrics are also showcased on two tracks entitled Lies That You Told and In This Town. The twelve song compilation is rounded off nicely by a moving rendition of the traditional hymn When He Reached Down His Hand For Me.

Perhaps the best cut is the fresh take on the Whitley/Cook song, the country sound of which seems to be perfectly designed for Hale’s voice. Hale’s country influenced guitar playing and smooth soulful singing style creates a balance between traditional sounds and contemporary attitudes.

Since their debut a decade ago, Wildfire’s music has always sat somewhere between time-honored bluegrass and country music, and this effort continues in the same vein. Marking their first decade in bluegrass, Crash Course in the Blues, released on Lonesome Day Records, proves that Wildfire still has plenty to offer.

Good Friends, Good Times from Haley Stiltner

Since its founding in 1982 by Jack Tottle, the Bluegrass, Old Time, and Country Music Program at East Tennessee State University (ETSU) has helped to further the careers of many of today’s prominent bluegrass and country musicians, including Adam Steffey, Barry Bales, and Tim Stafford. Haley Stiltner, whose first solo project Good Friends, Good Times was released June 29, is part of the most recent group of talented musicians to emerge from this program.

Haley, who first became interested in the banjo at age nine, displays her excellent musical skills, both instrumentally and vocally, throughout the album. Having toured with Rhonda Vincent’s daughters in The Next Best Thing for the past two years, her new project was released on the Upper Management Music label. Artists like Adam Steffey and Hunter Berry, along with many other up-and-coming musicians, join Haley on this twelve-song compilation.

While Haley’s treatment of well-known bluegrass tunes like Redwood Hill and Love for an Angel are good interpretations of earlier recordings, it is the originality on this record which makes it stand out. The tracks on Good Friends, Good Times range from pop and country covers given a bluegrass treatment (like The Eagles’ Take it to the Limit) to sacred songs like When the Roll is Called Up Yonder.

Also included are several originals by other students in the Bluegrass, Old Time, and Country Music Program: senior Emily Willis both wrote and sang the beautiful gospel piece Perfect Love, while Colby Laney contributed Sam’s Gap and Dark and Shady. Steffey’s count off, followed by a syncopated instrumental intro, leads into the polished, country-flared vocal of Brent Burke, all of which make Dark and Shady, a mid-tempo piece concerning failed romance, one of the best pieces within this set of music. Recorded at 160 BPM, Laney’s tune Sam’s Gap is a particularly complicated instrumental piece named after a local landmark between Johnson City, TN and Asheville, NC.

Haley’s version of Take it to The Limit, which was originally released on the Eagles’s fourth album in 1975, is a superb arrangement. The twin fiddle treatment by Hunter Berry, coupled with an affectionate lead vocal sung by his wife Sally, makes this tune instantly sound like a bluegrass standard. A contemporary adaptation of the Country Gentleman tune Redwood Hill is also included as the closing track of the album. Haley’s modern rendition of this classic piece, with lead vocals provided by David Grindstaff, maintains its original integrity but adds a more current tempo and phrasing.

Within the last year, Haley has performed on the Grand Ole Opry with multi-award winning performers Rhonda Vincent and the Rage, filling in for Aaron McDaris. At the young age of 23, there is no doubt that Haley, who is a graduate student at ETSU and works as a banjo instructor and graduate assistant in the Bluegrass, Old Time, and Country Music Program, is just getting started on her musical pathway. Good Friends, Good Times definitely showcases her enormous talent.

For more information regarding this new release, visit Haley online.