Pinecastle Records has released another single from their instrumental tour de force project, Bluegrass 2022, headed up by banjo wizard Scott Vestal. Scott has turned out these records from his studio, Digital Underground, for years, assisted by fellow Nashville super pickers.
For 2022, the lineup was Vestal on banjo, Cody Kilby on guitar, Tim Crouch on fiddle, Randy Kohrs on reso-guitar, Jonah Horton on mandolin, and Byron House on bass.
This week’s single is Gold Rush, a classic Bill Monroe fiddle tune from 1968. Initially recorded by Monroe as The Gold Rush, the shortened name has stuck as the tune has become a jam standard.
Listening to this new version, one wonders whether Monroe and Byron Berline had any notion when they wrote this tune that, two generations hence, there would be such virtuosic bluegrass pickers around to give new life to this fairly straightforward melody. In any event, here we are, and here they are.
Pinecastle Records has released a new single from their upcoming instrumental bluegrass album, Bluegrass 2022.
Following in a long tradition begun in 1995, banjo master Scott Vestal has recorded stellar projects for the label in many of these years, each similarly named for the release date. Working in his own Digital Underground studio near Nashville, Scott brings in a group of top bluegrass pickers to cut a mix of standard and original music. That initial record, Bluegrass ’95, was named Recorded Event of the Year by the IBMA at their Awards ceremony the following year.
This next, set for wide release later this year, again finds Vestal on banjo with Cody Kilby on guitar, Jonah Horton on mandolin, Tim Crouch on fiddle, Randy Kohrs on reso-guitar, and Byron House on bass. Scott also engineered and produced. It even boasts of original artwork from impressionist painter and banjo picker CW Mundy.
Today’s single is EMD, an early David Grisman classic from 1977, included on his first, self-titled album with The David Grisman Quintet. Here it gets a raucous bluegrass treatment, with banjo and dobro, which you can hear below.
It’s rare to find a musician, especially in the traditional music world, who wasn’t influenced by a parent or grandparent at a young age. For Charlsey Etheridge, a Georgia native who has recently released her debut album, one of those early influences was her grandmother, who taught her a number of old songs when she was a child. Several of those songs have made their way onto Etheridge’s debut album, Memories of Mine, a ten-song collection of old favorites.
The majority of songs here are traditional Gospel or bluegrass numbers, but Etheridge has put her own unique stamp on each of them. Blue Moon of Kentucky, for instance, is a little more Elvis than Bill Monroe, with a fun 50’s sound and swingy fiddle. There’s a jazzy version of In the Pines which is almost unrecognizable as a bluegrass song, but is still excellent, with soulful vocals from Etheridge and fine piano work from Chris Phillips. Tennessee Waltz, on the other hand,is done in more of a traditional style, with fine fiddling from Jeremy Abshire and tear-soaked vocals from Etheridge.
Etheridge also offers fine takes on a number of Gospel songs, including the Louvin Brothers’ Keep Your Eyes on Jesus. She stays quite faithful to the original cut of the song, though she throws in some old-time flair with the addition of autoharp, harmonica, and spoons, as well as some nice banjo from Shad Cobb. Wayfaring Stranger is also enjoyable, with Randy Kohrs’ tasteful dobro work adding to the song’s bluesy feel.
The other Gospel songs here are all traditional hymns, performed in a fairly stripped down style as to showcase Etheridge’s vocals. The peaceful Land of Beulah (also known by the title Is This Not the Land of Beulah) is one of the best numbers on the album. Bluegrass fans may recognize the song from The Isaacs’ version from the late 1990s. The album also closes on a powerful note with a Southern Gospel-tinged version of Take My Hand, Precious Lord featuring just Etheridge’s strong vocals accompanied by Phillips on piano.
The only song which falls outside the bluegrass canon is Filipino Baby, a classic country number which Etheridge learned from her grandmother. It’s been recorded by a number of artists over the years, including Ernest Tubb, but Etheridge’s version is tender and sweet, with a simple arrangement that goes well with the song’s story of a soldier who falls in love with a beautiful local girl while serving in the Phillipines.
Though the songs on Memories of Mine will all likely be familiar to bluegrass fans, and several of them stick fairly close to the traditional bluegrass arrangements, this isn’t necessarily a bluegrass album. However, Etheridge is clearly a talented vocalist, and has chosen a host of top musicians to join her on this recording. Fans of traditional music – particularly those who like their music just a bit outside the box – will surely find something to like here.
For more information on Charlsey Etheridge, visit her website at www.charlseyetheridge.com. Her new album is available from several online music retailers.
10 of the 11 tracks are Brandon’s, and he is assisted in the studio by top grassers like Scott Vestal on banjo, Randy Kohrs on resonator guitar, and Luke Bulla on fiddle. The material is mainstream contemporary bluegrass, produced by Adams with a crisp, modern feel, and he sings them with conviction.
As a guitarist, Brandon is very much of the Tony Rice school, and this new CD includes Rice himself on Adams’ I Long for Seventeen, recorded a few years ago when Tony’s guitar chops were still strong.
Brandon says that tracking with Tony was a big moment for him.
“Tony did all the cool stuff on I Long for Seventeen. We cut that one live side by side in the studio. No click track. No vocal tuning. Just live and raw. I’m most proud of that one.
Every Rice brother had a hand in it: Tony played on the song, Wyatt mixed it, and Ron Rice did the mastering.
I got in touch with Wyatt through Tony and Pam Rice. He is amazing with what he can do in a studio playing and mixing. Wyatt introduced me to Ron, who is equally amazing with mastering. I’ve never met such a talented family. I feel blessed to know them.”
Hardest Kind Of Memories is available now from CD Baby or iTunes, and on CD from FYE and Sam Goody’s.
Radio programmers can download tracks digitally from Airplay Direct.
The High 48s, a Minneapolis-St. Paul, Minnesota, band formed in 2006, is working on an album of train songs with funding for the project coming from a successful Kickstarter campaign. This will be their fifth album project.
They are a five-piece band made up of Rich Casey(bass), Eric Christopher(fiddle and vocals), Chad Johnson(mandolin and vocals), Marty Marrone (guitar and lead vocals) and Anthony Ihrig (banjo). In 2008 they won the prestigious RockyGrass Bluegrass Band Competition in Lyons, Colorado.
Here’s a video introduction…
The High 48s have been rehearsing for this album for the last couple of months and have already incorporated some new songs into their set lists.
Eric Christopher speaks excitedly about the venture …
“… we are working on an album of train songs, both originals and covers, and we are very excited about it.
The idea for the album started with a song our banjo player Anthony Ihrig wrote called Great Northern Railroad. It’s a song about his grandfather who lived in Saint Paul and worked for Great Northern back in the day and had sort of a rough life. It’s a story and a song that people seemed to really connect with at our live shows (and it was a selection for the songwriter’s showcase last year at IBMA), so it got us thinking more about train songs.
In the van on our way to gigs, we would try to think of all the train songs we knew, looking for the ones that hadn’t been covered as much as, say, Wabash Cannonball and , or songs that really spoke to us on a personal level. And that’s really where the idea for an entire record of train songs took shape.
And of course our band name comes from old railroad slang for the “40 and 8” boxcars that were used to carry troops to the front lines in World War I (there’s more background on that on our website here), so maybe we were just destined to do this album!
So, our working title for the record is Great Northern Railroad, and our song list so far is ..
Great Northern Railroad and That Train Has Left the Station by Anthony Ihrig
Leavin’ Train by Robin and Linda Williams
Baltimore and Ohio by Becky Schlegel
Notch 8 (fiddle tune) by Eric Christopher
Grand Junction and The Train Carryin’ Jimmie Rodgers Home by Greg Brown
A Memory Like Mine by Darrell Scott
Two Trains by Muddy Waters
Smoke Along the Tracks by Stonewall Jackson
We’re going to Nashville in January to record the album with Randy Kohrs at Slack Key Studio and are planning on a late February/early March release date.”
Aaron Ramsey may be best known for his role as the mandolin player for Mountain Heart, but on his recent solo project, Gathering, he takes on almost every role imaginable within a bluegrass project. Ramsey not only showcases his noteworthy mandolin skills, but also takes turns on guitar, bouzouki, bass, banjo, and resophonic guitar, as well as both lead and harmony vocals. While that list may make it seem like Ramsey laid down all the tracks completely by himself, he is also joined by a literal “who’s who” of bluegrass stars, making Gathering quite an impressive recording.
Ramsey co-wrote five of the album’s twelve songs. The album opens with one of these co-writes (this one with Dennis Goodwin), a well-written Western legend called The Streets of Abilene about a man who, “if they measured nerve in ounces… would weigh a ton.” No One’s Found Her Yet was written with Josh Miller, and begins with haunting fiddle from Tim Crouch which sets the scene for the rest of the song nicely. Way Up on The Mountain (one of two tracks credited to Ramsey and his father, Michael) is a pleasant, melodic piece which traces the feeling of freedom the singer finds on a mountain throughout his life.
Michael Ramsey also penned four additional songs for the album. He is Here is an enjoyable up-tempo gospel number which urges listeners to take Jesus up on His offer of salvation. Another gospel song is The Healer, which has a slow, earnest feel, and speaks of how Jesus is always there, even in your darkest moments. Aaron’s deep lead vocals suit this piece well.
There are also a few old favorites, including the Osborne Brothers’ One Tear. It’s rendered in a fashion fairly similar to previous versions, but it’s still a great listen, thanks to Barry Abernathy’s strong lead vocals and the track’s great instrumentation (including a fine mandolin solo from Ramsey). It’s one of the album’s best tunes, as is a Rickey Wasson-led Fare Thee Well (Farewell). The album also closes on a high note, with the driving, traditional John Henry Blues. Jim Van Cleve offers some fine fiddling, and Tony Rice adds one of his instantly recognizable guitar solos. This is another instance where Ramsey’s voice fits the song particularly well.
For fans of well-performed, modern traditional bluegrass, this album will be a treat. Almost everyone is sure to find a favorite musician included here. In addition to those listed above, David Babb (upright bass), Ron Block (banjo), Randy Kohrs (resophonic guitar), Tim Stafford (guitar), Josh Swift (resophonic guitar), Jason Moore (upright bass), and Patton Wages (banjo), among others, each contribute to at least one track. Ramsey’s instrumental skills, particularly on mandolin, are showcased throughout, and he provides listeners with several tasteful and talented solos.
The only problem with the album is that it’s not yet widely available. It can currently be purchased from Ramsey’s website, and the Northfield Mandolin website (whose products Ramsey plays and endorses).
The album is now available from popular download and streaming services online.
Don’t bring up religion or politics in polite company. That’s what they always say.
But Tennessee bluegrass singer/songwriter Mickey Boles is breaking both those rules in his new song, Music Politics. It examines the eternal question of who makes it in the music business and who doesn’t, with an ultimate certainty in faith.
Boles shared a few words about the song, along with this video of the song, recorded with the assistance of Jason Carter on fiddle, Cody Kilby on guitar, Mark Fain on bass, Scott Vestal on banjo, and Randy Kohrs on reso. Mickey sings the lead and play mandolin.
“All my life I have watched how good good pickers and singers have had to remain independant artists, and sit in the dugout (so to speak) in every genre of music, and watch everything land in the hands of artists that either payed their way through, primped and pimped their way through, lied their way through, or all the above to gain a label… gig… award… you name it. So I wrote this song to let them know that God is going to let me walk right through the lying political game of music, and receive national musical success without sacrificing integrity to do so.
That’s my humble view and thought, which I will stand on ’til the bitter end.”
You can find out more about Mickey and his music on Facebook.
While most bluegrass albums contain at least a few updated versions of old standards, there’s also some great new original music coming out these days. Milan Miller, the writer behind recent fan favorites Caney Fork River (Balsam Range) and Pretty Little Girl from Galax (Russell Moore and IIIrd Tyme Out), has recently released an album which consists almost entirely of his own compositions. The twelve songs on Poison Cove cover all the good bluegrass subjects – heartbreak, moonshining, mining, and more – and tell some interesting stories.
The title track is one of the album’s best. Its tale of a young boy whose simple life is changed forever when he happens upon his father’s moonshine still is compelling, and the understated, almost mellow instrumentation gives the tune a fresh, organic sound. Usually a tune with this subject matter would have a driving, banjo-heavy arrangement, but Randy Kohrs’ resonator guitar fits this track perfectly.
Another top-notch song is The Saddest Man in County Clare. Both its story and sound bring to mind Ronnie Bowman’s It’s Getting Better All the Time, and like that song, it could easily be picked up by a country artist. Although it’s set in Ireland, the simple tale of pure heartbreak is one listeners will be able to relate to. Playing Hard to Forget (co-written by Miller and James Ellis) also has a country feel, as it speaks of a man who realized just a little too late the disadvantages of taking someone for granted.
On the more bluegrass side of things is I’d Rather Be Lonesome (another cowrite, this time with Davis Raines), an anthem for anyone who’s been cheated on, with an old-school feel and the clever line “I’d rather be blue than green with jealousy.” Savin’ Up for a Cadillac is a fun, upbeat tune about a man whose idea of success hinges on the purchase of a fine automobile. The album’s closing track, Spike Island Blues,finds the singer back in Ireland, but this time locked up in prison. This is a nice addition to the long line of bluegrass prison tunes, and provides a bit of a history lesson, as well.
The one song here not penned by Miller is Swept Away. This tearful number about a flood has a stripped-down arrangement, and was written by the album’s bass player, Mark Winchester. Miller fills the lead vocal with just the right amount of pain as he sings of watching the water take away someone he loved.
On this album, the songwriting is front and center. While the instrumentation is well-done throughout, the arrangements are, in general, fairly understated, serving to support the singer and the lyrics rather than just show off the musicians’ skill. Miller does a fine job with the lead vocals, putting emotion just where it’s needed, and also contributes guitar, mandolin, and resonator guitar on various tunes. In addition to Winchester and Kohrs, he is joined by Scott Vestal (banjo), Seth Taylor (mandolin and banjo), and Ron Stewart (fiddle), among others.
Both bluegrass and country artists searching for new tunes won’t go wrong with Poison Cove, nor will those who enjoy well-written original bluegrass music with a dose of country influences in the style of Ronnie Bowman and Larry Cordle.
For more information on Miller, visit his website at www.milanmillermusic.com. Poison Cove can be purchased from CDBaby, Amazon, and iTunes.
What have you done for me lately? There may be no more cynically accurate expression that describes the music business. All of the entertainment business, actually.
Industry, media and fans all respond to ‘what’s new,’ without necessarily meaning to ignore the rest. And we’ve all seen stories of legendary artists who can’t get a label to release their new music, though that is thankfully more rare in bluegrass.
That came to mind when listening to Born Bad, the new album from the Tina Adair Band, representing as it does her first recording in nearly 13 years. She was among the most celebrated young bluegrass artists in the late 1990s before giving up performing to obtain a degree in music business. Since then, many a fan has been heard to wonder, “What ever happened to Tina Adair?” Now they have an answer.
She and her husband, Tim Dishman, have assembled a fine band, and released a gem of an album that should put Adair’s name right into the discussion for Female Vocalist of the Year. And maybe Songwriter of the Year as well. 7 of the 12 tracks are Adair originals, and they define the tenor and the feel of the record.
Tina plays mandolin, with Tim on guitar and bass. For their live shows, he handles guitar with Forrest Goodman on bass. Sim Daley completes the band on banjo, with guest appearances from Randy Kohrs on reso-guitar, Brandon Godman on fiddle, and Sarah Davison on piano.
But Adair is the unmistakable star. She sings with a power and authority possessed by only a very few vocalists. Her voice is expressive and agile, with the sort of sincerity required to pull off the emotional material she’s assembled for this project.
A few of the songs discuss difficult topics. The title track is a different sort of Gospel number; more a song of Christian reflection. It’s a conversation with St. Peter about his having denied Jesus, offering solace in shared sin and mutual broken promises. Anyone trying to live a Christian life will recognize themselves here.
Don’t Grieve is Tina’s imagining of a message from her departed brother, written with Kenny Lewis, son of former Blue Grass Boy, Wayne. It was the death of Keith Adair in 2010 from colon cancer that spun her away from music for a while. Tina and Tim had started putting a band together in 2009, and she largely dropped it when Keith was ill. After he passed it took her some time to return, as she and her brother had played together since they were children, and missing him made the music painful.
But she used this beautiful song, in which she hears Keith telling her to tell her to live life, and “Don’t Grieve,” to work through it. If you’ve lost someone you love – and haven’t we all? – you’ll find a mix of sadness and comfort in the song, which was produced by Randy Kohrs.
But the songs are not all so intense. How I Was Raised is a mid tempo bluegrass song about being raised right, while Stuck Somewhere In The Middle rips along a bit more quickly wondering about the line between right and wrong. Go And Tell Jesus is a highlight, starting with a traditional mandolin/guitar duet before ripping into a tight band arrangement. Dishman really shines on guitar here. A more contemporary sound marks What Was Never Meant To Be, and country artist Billy Dean joins Tina on a lovely duet for his song Tomorrow & For Always, co-written with Lewis.
Daley contributes a fine banjo tune, Snaker Dan, performed with a style somewhat reminiscent of the great Ron Block. He and Daley are longtime friends, and Sim does most of the work on Ron’s many cherished instruments, so he comes by it naturally. The album ends with a choir-like rendition of Farther Along, which follows appropriately after Don’t Grieve.
Born Bad is one of those rare 5-star releases. Every track is strong, all the performances are superb, and marking the recorded return of Tina Adair is a gift to the bluegrass world. This one is not to be missed.
The album is available from CD Baby, iTunes and other popular download sites.
Tonight’s (2/6) edition of Music City Roots will feature a bluegrass-centric lineup. They are billing the show as Bluegrass and Friends, since two of the shows acts will be billed in that fashion.
Jon Weisberger & Friends will feature the noted songwriter, bassist and IBMA Executive Committee member in an unfamiliar position – fronting a band. Instead of playing a supporting role with Chris Jones & the Night Drivers, Jon will be in the spotlight highlighting a number of songs he has written and some of the folks with whom he has written. Assisting will be Chris Jones on guitar and vocals, Ned Luberecki on banjo, Jesse Brock on mandolin and vocals, and Jeremy Garrett on fiddle and vocals.
Weisberger says it will also serve as a reunion of sorts, as both Jesse and Jeremy had previously worked with him in Jones’ band.
“Jeremy will sing an as-yet unrecorded song that he and I wrote called Come Back To Me, and of course, Chris will sing Final Farewell, the song that he and I wrote for the Night Drivers that topped Bluegrass Today’s2012 airplay chart.
And then Kati Penn-Williams and Junior Williams of NewTown are coming in to do Love The Way I Do, a song that Jeremy and I wrote for her and the band a couple of years ago; Vida Wakeman of Jeff & Vida will sing a good-spirited, old-time kind of tune called We’ll Put Out The Fire (lots of fiddle and banjo on that one!), and my Leadership Music classmate Jenn Schott – a great songwriter who most recently co-wrote the title track on Tim McGraw’s new album – will be singing one we wrote called My Kind Of Night Life.
Randy Kohrs & Friends will be on the show as well, for a brief set, but not in a bluegrass context. His MCR pals will consist of Jay Weaver, Josh Shilling, Mike Radovsky, Trevor Finlay and John McTigue.
