ALL4HYM
FAITH & FAMILY
Rural Rhythm Records
RCH 2008

This is All4Hym’s eighth recording overall and their first for Rural Rhythm. There are 12 songs, the majority of them from the pens of Dee Gaskins and Marshall Brickman. Each of them wrote four.

While the music presented here is encompassed beneath the larger gospel tent, the subjects addressed in several of them break outside religious subjects and imagery and instead examine thoughts on family values and living right. Of course, family values and living right, as expressed in “Dollar Angel” (the idea that even small involvements can help those in need), “Wealthy Man” (a man with troubles realizes the good things he has in family and friends), and “Fifty Years Together” (a look at the things that make a marriage endure) are important aims and of the religious message.

Among the songs that use more traditional gospel imagery, several stand above the rest, including Brinkman’s “Grandpa’s Table Grace” and “Inside Prayer” and Gaskins’ “Old Sinners Like Me.” Each of those highlights the vocal talents of the group’s three lead singers. “Grandpa’s Table Grace” is a song tailor-made for Chester Kreitzer’s smooth and graceful vocalizing, while his wife Terri’s introspective approach brings out the meditative quality of “Inside Prayer.” Equally well-matched is the low and resonant lead of their son Corey on “Old Sinners Like Me.” With a voice belying his years, he virtually inhabits the role of a down-and-outer questioning his ultimate fate.

All three of the vocalists (and a double track) are then highlighted on Gaskins’ moving a cappella quartet number “Even At The Door.” No gospel recording should be without a good quartet tune, and this one could easily have come from Alfred E. Brumley himself. Chester, Terri, and Corey make the most of it. One thing that would have enhanced this recording is one or two uptempo numbers. But, in all, it’s a solid, contemporary gospel CD. (Rural Rhythm, P.O. Box 660040, Dept. D, Arcadia, CA 91066, www.ruralrhythm.com.) BW

AUDIE BLAYLOCK AND REDLINE
I’M GOING BACK TO OLD KENTUCKY (A BILL MONROE CELEBRATION)
Rural Rhythm
RUR 1081

Audie Blaylock and Redline, along with some high-octane guests, have put together as fine a tribute collection of Bill Monroe classics as you will find anywhere. In addition to Redline regulars Russ Carson (banjo), Reed Jones (bass), and Patrick McAvinue (fiddle), helping out on this project are Ronnie McCoury on mandolin throughout, Glen Duncan and Jason Carter (fiddle on several cuts), and Bobby Osborne, Lou Reid, Del McCoury, and Carl Jackson on occasional vocals. Audie handles the guitar and (lead) vocals throughout, with a voice that nails the sound and spirit of Monroe’s music on each of the 11 vocal cuts. Included are “I’m Going Back To Old Kentucky” (with Lou Reid singing harmony), “In Despair” and “Mighty Dark To Travel” with Bobby Osborne, “On The Old Kentucky Shore” with Del, and a superb version of “When The Golden Leaves Begin To Fall” with Carl Jackson singing tenor. McAvinue and Jones join Blaylock on the vocals for a great three-part “Lord Lead Me On.” Triple fiddles with McAvinue, Carter, and Duncan grace “You’ll Find Her Name Written There,” “Cry, Cry Darlin’” and the blistering instrumental “Tall Timber” to wrap up the proceedings. “Out In The Cold World,” “Georgia Rose,” and “I Was Left On The Street” are also very well done by Redline with McCoury on mandolin.

This is a very nicely done collection of some of Monroe’s most popular releases. The vocal work by Blaylock and others is topnotch, the instrumental support is right on the mark, and the Father of Bluegrass would no doubt find this release very much to his liking. (Rural Rhythm, P.O. Box 660040, Dept. D, Arcadia, CA 91066, www.ruralrhythm.com.) AW

CEDAR HILL
I’VE GOT A THING ABOUT DOORS
Blue Circle Records
BCR 026

I’ve Got A Thing About Doors proves that, in 2011, a band can still record a pretty traditional bluegrass album using all new songs. On this enjoyable album, Cedar Hill even manages the honor of debuting a recording of the last song Jimmy Martin wrote, “A Little Bit More.” This is Frank Ray’s Cedar Hill, the 44-year-old Ozark-based band, not Duck Adkins’ 35-year-old Cedar Hill from Atlanta. Even though the latter has quite a reputation for humor, Frank’s bunch is no slouch, adding a silly voice-over from Tom T. and Dixie Hall at the end of their title track and concluding the project with the how-not-to instructions of “Just Wanna Write A Bluegrass Song.” That is one of three titles from Cedar Hill’s resonator guitar player Ferrell Stowe.

Ray, who plays mandolin and sings, composed or co-wrote four of the songs, including “Broke Hearts Are Real,” a fine neo-traditional piece, with bass player Earon Adams. In addition to Martin and the Halls, Cedar Hill provides a sincere rendition of Mark Brinkman’s “With Love From Normandy,” the least traditional cut on I’ve Got a Thing About Doors. Ray’s associates, Dave Haverstick and Charlene Sumney, delivered the remaining three new songs.

Cedar Hill is traditional in the significant sense that they model from the first generation and are little influenced by the bass-heavy, trio and quartet vocal style so popular for the last thirty years. At their quite enjoyable best, the band puts old ideas in new vessels to excellent effect. Haverstick’s “Already Gone” receives one of the most interesting arrangements with Stanley Brothers-influenced vocals over Monrovian music featuring the fiddling of guest Tim Crouch.

The Halls radio-friendly title track, in fact, achieves a real Cedar Hill sound that doesn’t resemble anyone else. The band does that again on Ray’s “Whose Gonna Pray.” They could use more of this, for sometimes they sound more like Cedar Hill sounding like a traditional star more than sounding like themselves. For example, “Nails And Thorns” could be slipped right on to a Dave Evans release. That aside, I’ve Got A Thing About Doors proves a solid disc of original, traditional bluegrass. (Blue Circle Records, P.O. Box 681286, Franklin, TN 37068, www.bluecirclerecords.com.) AM

DICK KIMMEL & CO.
DREAMIN’
DKC Records
2011-1

Veteran artist Dick Kimmel is joined here by regular bandmates Jerilynn Kjellberg (vocals and guitar), Lee Folta (bass), Tim O’Connor (banjo and vocals), and Bruce Bernhart (mandolin), with guests Becky Buller on fiddle and Kimmel’s son, Ian, on guitar. The group has a traditional bluegrass sound while also showing a willingness to tackle less-than-tradition material, specifically the Everly Brothers hit “All I Have To Do Is Dream,” one of the nicer vocal moments on the CD, and “Charmaigne,” a challenging instrumental tune which here gets a vocal addition.

This project is given a boost by the strong lead vocals of Kjellberg (“I Got Wise,” “I’ll Never Forget You,” “Sweetie Honey Baby,” and the oft-requested “Farther Along”). The three duets with Kimmel (“Dreamin’,” “All I Have To Do Is Dream,” and “I’ll Love Nobody But You”) are very effective vocally, and Kimmel does a nice job on “Love Of The Mountains,” “Don’t Call My Name,” and “Goodbye Old Pal,” all with fine harmony by Kjellberg. The fiddle work of Becky Buller also stands out, and really shines on “Farther Along.” Unfortunately, this release is somewhat inconsistent when it comes to the overall instrumental support. (Dick Kimmel & Co., P.O. Box 101, New Ulm, MN 56073, www.dickkimmel.com.) AW

FAREWELL DRIFTERS
ECHO BOOM
Heart Squeeze Records
HS2K111

The Farewell Drifters find themselves in the revived argument over the definition of bluegrass. The younger generation of performers whom are currently taking the music in a different direction are dealing with the same thing that my age group, the newgrass generation, dealt with forty years ago. There is nothing wrong with music fans that simply prefer traditional bluegrass music over more progressive fare; those who want to keep the old school sounds alive and pure. The problem is that there is a smaller group of hardshell bluegrass purists who want to decide whether the musicians and bands who are heavily influenced by the genre can also be a part of the bigger, overall bluegrass family.

The easy solution is to categorize the music so the blinkered among us are properly warned of impending musical diversity. So, to be clear, this new album by the Farewell Drifters called Echo Boom is not bluegrass music. But, the project is full of original bluegrass-influenced jams with a nod going to the bright, acoustic music of the 1960s and ’70s that influenced the members of the group as they were growing up. The Drifters, who came together over the music of the late John Hartford, are following the same path as new acoustic artists like Sarah Jarosz, the Punch Brothers, and the Decemberists.

The highlights on Echo Boom include the infectious and fiddle-driven “Tip Of The Iceberg,” the Beatles-esque “We Go Together,” and the Beach Boy harmonies of “I’ve Had Enough.” If you like the sunny music of the 1960s as well as the sounds of the current crop of new acoustic artists, this is a fun, road-trip-worthy CD. As the Drifters say in the final cut: The common ties that bind are stronger than the lines we draw. (Heart Squeeze Records, 1145 Fernbank Dr., Madison, TN 37115, www.thefarewelldrifters.com.)DH

JOHN REISCHMAN & THE JAYBIRDS
VINTAGE & UNIQUE
Corvus Records
CR018

Similarity, in a good way, is the word for recordings from John Reischman and the Jaybirds. Not the music on the records, just the quality and the musicianship. You can always count on Reischman’s exquisite mandolin work and its clear, fluid, and articulated lines with beautiful tone, timing, and drive. Guitarist Jim Nunally will always have an attacking snap to his leads. Banjoist Nick Hornbuckle will always be propulsive and intricately creative, while fiddler Greg Spatz can always be counted on to be both tuneful and expressive. Bassist Trisha Gagnon’s voice will always be a velvety, mid-range instrument in itself and provide a counter to the McCoury-tinted, more traditional leads of Nunally. Overall, you can always count on the band’s unique sound, its mix of fire and laid-back elegance with a loose good-time feel.

All that applies here. From the opening lick/figure (lifted from Reischman’s “Eighth Of February”) that introduces their variant of “Shady Grove” to the closing grace of Reischman’s tremelo-laced “Bitteroot Waltz,” this is a wonderfully evocative album. There are fourteen tracks, of which five are instrumentals and eight are originals. Only “Shady Grove” and “The First Whippoorwill” are standards. Nunally sings four leads and anchors the traditional bluegrass side. His original, “Consider Me Gone,” is probably his best work here—a bright and catchy take (particularly the chorus) on the standard “moving on” theme. Also well-done are his versions of “Goin’ Across The Sea” and his duet on “The First Whippoorwill,” the latter of which blends folk smoothness and Monroe’s blues perfectly.

Among Gagnon’s five vocals, the ones that most grab the attention are her originals, one being her poignant look at the Chinese immigrant experience, “Gold Mountain.” The other is her lively original, “Hurry Up And Harvest,” which like Nunally’s tune is bright and catchy (again, particularly in the chorus). She also handles the lead on the get-up-and-move gospel tune, “Gabriel’s Call.” As for the five instrumentals, they’re all good. Reischman’s “The Old Grove,” taken in 3/4 with an interesting rhythmic pulse, is intriguing and captivating, as is Spatz’s “Lancaster Sound” and Hornbuckle’s uptempo “The Black Road.” A good word need also be said for the traditional and bluesy version of “Last Chance.”

Why, after nearly ten years together and five quality recordings, the Jaybirds haven’t garnered more recognition is hard to fathom. Maybe this one will break them through. (Hearth Music, 14879 6th Ave. NE, Shoreline, WA 98155, www.thejaybirds.com.) BW

JIM LAUDERDALE
REASON AND RHYME: BLUEGRASS SONGS BY ROBERT HUNTER & JIM LAUDERDALE
Sugar Hill
SUG-CD-4070

Listening to a new Jim Lauderdale album is a little like catching up with a trusted old friend that you only get to visit once or twice a year. The encounter, without fail, leaves you feeling buoyant and renewed. As one of Nashville’s most prolific singer-songwriters and tireless multi-taskers, Lauderdale always keeps his calendar crowded with an array of genre-crossing collaborations, both on stage and in the studio.

In recent years, he’s earned a Grammy for his bluegrass outings (2007’s The Bluegrass Diaries) and recorded a pair of albums with Ralph Stanley. (In a typical Lauderdale-style change of pace, he recently toured with popular British rocker Elvis Costello.) Lauderdale’s latest bluegrass foray also represents the most recent installment of his ongoing collaboration with songwriter Robert Hunter, who for years was the principal lyricist for the Grateful Dead. Their partnership began back in 2004 when they cowrote songs that Lauderdale included on Headed For The Hills, an album he recorded with Ralph Stanley that was released that same year.

These new Lauderdale/Hunter bluegrass compositions usually hew closely to the traditional verse/chorus/refrain template that’s the heart of most bluegrass classics. Yet, the lyrics and melodies are often full of provocative surprises in the form of quirky rhyme schemes and odd narrative twists. These delightful eccentricities lend themselves well to Lauderdale’s exuberant, expansive, and thoroughly down-home vocal style. “Tiger And The Monkey,” for instance, sounds like a surrealistic update of an old Buck Owens novelty tune, while “Not Let You Go” is a haunting and enigmatic story-song shot with dark mystery. On the other hand, “Don’t Tempt The Devil” is a lovely, traditional-sounding ballad and “Fields Of The Lord” is a revved-up, but reverent gospel ode. The wistful, plaintive title tune also packs a powerful emotional jolt.

Lauderdale is joined on Reason And Rhyme by another long-time collaborator, award-winning resonator guitarist Randy Kohrs, who produced and (along with bassist Jay Weaver) mixed the album, while also playing and singing harmonies throughout. Other featured players are: Mike Compton on mandolin, Scott Vestal on banjo, Tim Crouch on fiddle, and Clay Hess on acoustic guitar. (Sugar Hill, P.O. Box 120897, Nashville, TN 37212, www.sugarhillrecords.com.) BA

DAVE LEATHERMAN
EASY MEMORIES
Molly Mae Prod.
No Number

Few song types have the impact of a finely-crafted, slow country weeper—all the better if it has a good message. Maybe it’s the cathartic quality or maybe you just think, “Well, at least my life’s not that bad.” They sure are effecting and affecting.

On this CD from Dave Leatherman, just such a weeper, “Chiseled In Stone,” comes in at track four, and it has it all. Good tune, good arrangement, good presentation, good story. In it, a husband and wife quarrel, and off he goes to the bar. He meets a man who scolds him to be more grateful for having someone at home at all, that you never know lonely until the death of a loved one is “Chiseled In Stone.” Vern Gosdin and Max D. Barnes wrote that one, and Leatherman gives it a respectful and thorough reading, nicely supported by reso-guitarist Ferrell Stowe.

That opens a string of four more topnotch songs. The first of them is “Drunken Driver,” a medium-paced grinder cast in the classic Stanley Brothers mold, warning against the perils of alcohol and automobiles. That’s followed by a spare cover of “Were You There,” followed by a fine cover of Ralph Stanley’s “Hemlocks And Primroses.” That Leatherman has a touch of Ralph’s delivery also helps the last song in the string, Ray Park’s jaunty “Montana Cowboy.” Elsewhere in the recording is Leatherman’s tale of what happened to landowners when the TVA came in. Agree or disagree with the policy, it’s hard not to feel for the landowners. Leatherman also includes “Saginaw, Michigan” and gives it a much more traditional treatment than the country original.

All those, indeed all the tunes, are delivered by Leatherman in a wizened, rough-hewn vocal approach that is quite compelling, particularly when the songs are of a story-style or are in need of world-weary presentation. Backing him effectively are, among others, Charlie Cushman, Jeff White, Mike Bub and Ronnie McCoury. (Dave Leatherman, 1555 Far Oaks Rd., Woodleaf, NC 27054.) BW

SUZY BOGGUSS
AMERICAN FOLK SONGBOOK
Loyal Dutchess Records
1006

Are you having a bad day? Is your world temporarily spinning out of control? If so, I’d suggest sitting down in your favorite quiet place and listening to American Folk Songbook, Suzy Bogguss’ calmly soothing and quietly gorgeous collection of musical Americana. The Grammy- and Country Music Association Award-winning, Illinois-born songstress explains on her website that she first got the idea for this project a couple years ago when she was appearing on A Prairie Home Companion and noticed how enthusiastically the audience responded to songs from what she calls the “good, ’ol fifth-grade songbook.”

The 17 cuts here run the gamut from jaunty renditions of “Rock Island Line,” “Ol’ Dan Tucker,” and “Git Along Little Dogies” (which Bogguss enlivens with some delightful yodeling) to very lovely and soulful reprises of “Beautiful Dreamer” and “Shenandoah.” In her brief liner notes, Bogguss says she spent a lot of pre-production time brainstorming with guitarist Pat Bergeson (who also plays harmonica and Jews Harp on various cuts) and her husband, songwriter Doug Crider, who also served as co-producer and played guitar on one cut. Their objective was to come up with fresh new interpretations of these familiar odes while remaining true to their traditional spirit. In the studio, they fleshed out their musical vision with the assistance of various celebrated sidemen: Stuart Duncan (fiddle and mandolin), Richard Bailey (banjo), John McCutcheon (hammer dulcimer), Jeff Taylor (accordion, concertina, tin whistle), and Harry Stinson (snare drum), among others.

All their time and thoughtfulness was well spent. The result is a quietly exuberant reawakening of these timeless keystones from the all-American songbook of yesteryear. (Loyal Dutchess Records, P.O. Box 90245, Nashville, TN 37209, www.suzybogguss.com.)BA

THE ROYS
LONESOME WHISTLE
Rural Rhythm
RUR-1080

Brother-brother mandolin-and-guitar duet-vocal acts have been a cornerstone of the modern bluegrass and traditional country music sound—think of the Monroe Brothers, the Blue Sky Boys, the Lilly Brothers, the Louvin Brothers and many others. So perhaps it’s not surprising that a brother-sister mandolin-and-guitar duet-vocal act is becoming a keystone of the contemporary bluegrass and country music sound.

Singer/songwriters Lee and Elaine Roy were born in Fitchburg, Mass., but their music is rooted in the enduring warmth and cold sorrows of the lives of Southern working folk. There may be a good reason for this. The Roy family loved country music and later relocated to Coal Branch, NB, Canada, a small town with a sawmill, grist mill and, as the name suggests, coal mining operations. No wonder the Roys sing their opening track (and recent single release) “Coal Minin’ Man” with such conviction.

The Roys have lately been a busy act with extensive touring; hosting of the Ernest Tubb Midnite Jamboree; and even singing the national anthem at a Tennessee Titans’ football game. They present a lonesome but sweet sound that will likely appeal to a spectrum of bluegrass and country music fans.

Lee Roy’s songwriting abilities are as impressive as his soaring vocals. One powerful track is “That’s What Makes It Love,” co-written with Morry Trent and featuring fine performances by Ricky Skaggs & the Whites. Moment to moment, the song powerfully progresses from humble vignettes to a final spiritual observation. It is a classic overview of life’s yearnings. “Give A Ride To The Devil,” by Lee Roy and Robert Ellis Orall, has an equally high impact in its music and message. Elaine Roy is a talented composer in her own right. Among the album’s highlights are her wistful solo composition “Right Back At You,” and the finely edged “Trailblazer,” co-written with Steve and Bethany Dean.

It’s not just that Elaine sings beautiful upper harmony to Lee’s lead. Lee is also consistently capable of enhancing lower harmonies to Elaine’s sweet higher voice. This versatility is a hallmark of the Roys’ evolving sound. In addition to their seamless sibling-blended vocal duets, there’s a lot to enjoy instrumentally on this debut effort. Lee’s surging mandolin and Elaine’s flowing guitar playing.

The Roys and co-producers Andy Leftwich and David McGee have assembled a terrific backup bench of fiddlers, banjo pickers, reso-sliders and other sidemen. Surprisingly, these teammates are not specifically identified on the album’s liner notes. It would have been good to know who was in the infield and outfield. Let’s look for the The Roys’ next production to be as well-crafted as their debut. A hint is the final track “High Road,” wistful but beautiful, a fitting ending to an impassioned album and, let’s hope, the harbinger of a memorable artistic career for The Roys. (Rural Rhythm Records, P.O. Box 660040, Dept. D., Arcadia, CA 91066, www.ruralrhythm.com.) RDS

SHANNON SLAUGHTER
THE SIDEMAN STEPS OUT
Elite Circuit Music
001

For nearly twenty years, Shannon Slaughter has played the guitar sideman role, moving from the Lost & Found to Larry Stephenson to Melonie Cannon to the Lonesome River Band and, currently, to Lou Reid and to his own County Clare band. This debut lets him do just what the title states.

There are 14 songs. Slaughter wrote two of them on his own. Of those, the one that should attract the most attention is his tribute to the resiliant spirit of “The Working Man.” That resiliance is encapsulated in the boast that he takes nothing from the “Federal hand” and is driven home by the strutting, medium-tempo beat. It is a song tailor-made for the current climate. Six others he co-wrote. All six are enjoyable if somewhat basic songs, though a couple are a cut above. “I’ve Hit Everything In My Life (But My Knees),” taken in 3/4 time, details the life of a musician who has sampled all of life, but is wrestling with returning to the moral teachings of his mother. That one he wrote with Dan Felts and Mark Byrd, and it has a memorable chorus incorporating a list of things he’s “hit,” ending emphatically on the title line hook. But does he make the return? Slaughter and Mark Brinkman also co-wrote “Hooverville,” a historical song worth noting for its subject (the Bonus Army and the sadness that befell its march to Washington, D.C.) and for its dignified and emotional handling of the same.

The remaining songs are covers, the two best being Waylon Jennings’ “Julie” and the country, “When The Grass Grows Over Me.” Slaughter sings them all (except for two sung by his wife, Heather) in a smooth, even delivery that runs from tenor (“Wilson County Line”) to a low, Randy Travis-like moan (“When The Grass…”), but is mostly a mix of the two. He is well-supported by, among many, Shawn Lane, Rob Ickes, Ron Stewart, and banjoist Joe Cox. (Shannon Slaughter 2108 Brushy Mountain Rd., Wilkesboro, NC 28697, www.countyclareband.com.)BW

THREE RING CIRCLE
ROB ICKES, ANDY LEFTWICH, DAVE POMEROY
BROTHERSHIP
ResoRevolution, Inc.
59496

Building on the “ship” pun of the title, it can be said that listening to this recording has more in common with sailing a coastline than sailing across the sea. At sea, the scenery rarely changes, whereas coastal sailing offers something new around each headland or in each new harbor. So too, does this recording offer an ever-changing scene with each track and often within each track.

This is the second release from the dynamic trio of resonator guitarist Rob Ickes, bassist Dave Pomeroy, and fiddler/mandolinist Andy Leftwich. All three of them can scarce be bettered on their instruments and with that level of skill comes the desire to take musical chances, confident that what they attempt can and will work. Which, it usually does.

There are ten tunes and one vocal here, and as noted above, those eleven tracks reveal something new at each turn. The funk of the title tune gives way to a bluegrassy “Just A Rumor,” followed by a slow and flowing cover of jazz guitar great Ralph Towner’s “Anthem.” Then some more funk, a touch of rock, and some more jazz, followed by Tom Petty’s “Wildflowers” with pop-like vocals from Jon Randall Stewart. Then there’s a propulsive Leftwich fiddle tune, “Up And At It,” and a little later on is the recording’s masterwork, “A Night In Calgary.” That one opens with a minute or so of middle eastern and classical elements by Leftwich on solo mandolin, quickly rippled arpeggios, and shimmering tremelo. Ickes and Pomeroy then join, and the tune alternates brilliant solos and more classical-like interludes.

Brothership has very little classic bluegrass to it, but, with the exception of “You Can’t Know,” an improvised piece that goes on too long and nowhere in particular, it is a wonderfully executed, highly listenable recording. Recommended. (ResoRevolution, Inc., P.O. Box 682551, Franklin, TN 37064, www.resorevolution.com.) BW

THE WESTBOUND RANGERS
SOUTHERN BREAD & BUTTER FOR IT
No Label
No Number

Blending elements of modern jamgrass bands like the Avett Brothers, the burbling sounds of old-timey mountain music and even the drum and electric instrument phases of the Osborne Brothers in the 1950s, the Westbound Rangers have created a highly personal and addictive style that will appeal to many acoustic music and bluegrass fans.

Uptempo pieces like “Pushwater” and the manically rhythmic and addictive “Stonewall” will move audiences and listeners alike with their insistent beat and galloping drive. While not strictly bluegrass, these tunes have a wonderful, rollicking tempo that captures and holds the listener’s ear. At the same time, the band has a great feel for slower, more elegiac tunes. They do a mid-tempo version of “Big Scioty,” which has become more popular as an uptempo instrumental. “Time,” with its ancient musical structure and contemporary lyrics and pedal steel, sounds like something the Infamous Stringdusters might have recorded.

The band’s also been influenced by the late John Hartford, and they do a stirring version of one of his greatest tunes, “Tall Buildings,” complete with a rock-solid a cappella ending that perfectly matches the mournful theme of the lyric. “Natchez Under The Wheel” also has a wonderful Hartfordesque quality that fans of the late singer-songwriter will appreciate. “John Henry” clearly shows the band’s jamgrass feel, rocking out on a bluesy 12-bar rhythm heavy on syncopation and rock-influenced vocals over a traditional song everyone will recognize. The closing cut, “Old Yellow Dog,” demonstrates the band’s faithful understanding of the pre-bluegrass mountain music of players like Riley Puckett.

Combined, these disparate influences create a unique sound for the Westbound Rangers, modern and contemporary at times, other times harking back to the earliest string band styles. If that sounds like something you have an appetite for, I recommend diving into Southern Bread & Butter For It and taking big bites. (Westbound Rangers, 1205 Meridian St., Nashville, TN 37207, www.westboundrangers.com) DJM

THE WRONGLERS WITH JIMMIE DALE GILMORE
HEIRLOOM MUSIC
Neanderthal
NR001

The revisiting of older material, much of it traditional, is a theme for several projects this year. This concept album from Jimmie Dale Gilmore and the Wronglers, (the name is a play on a popular dungaree company name) is another project that goes backward to come forward. Anyone who has listened to real country music in the past decades will recognize most, if not all, of the material here. From Bob Wills to Charlie Poole to Flatt & Scruggs, Bill Monroe, and the Carter Family, we are treated to a catalog of wonderful old songs that still get played, because they are that good.

For those not familiar with Gilmore, his unique voice fills the songs as his distinctive voice wavers through the well-known lyrics. The band behind him, under the musical direction of Heidi Clare (former fiddler for the Reeltime Travelers), is a kind of old-time orchestra with a full chorus akin to those found on folk albums. The clawhammer banjo and swooping fiddles of Heidi Clare and Krista Martin ornament the music like drapes rustling in a musical breeze. The band sounds old-time and does a nice job of laying down a lush backdrop for Gilmore.

If you cherish the old songs sung with heart and tasteful acoustic arrangements that are not old-time but are decidedly country, this project will fit the bill. This recording is reminiscent of the large cast cuts found on the original Will The Circle Be Unbroken project by the Nitty Gritty Dirt Band in the early 1970s, sans the bluegrass drive. Here, they catch the old-time aspects of this music and make the most of the large band to provide a rich layer of sound to surround Gilmore’s vocals. (www.thewronglers.com.) RCB