http://www.americanaroots.com/reviews/detail/ Each week our contributing writers from AmericanaRoots.com publish album reviews. en jwwrob@aol.com Copyright 2008 2008-05-13T20:34:01-06:00 http://www.americanaroots.com/reviews/detail/sierra_hull_secrets/ http://www.americanaroots.com/reviews/detail/sierra_hull_secrets/#When:20:34:01Z Sierra Hull is a 16 year old musical prodigy that has drawn rave reviews from many of bluegrass’ elite artists. Her phenomenal mandolin playing, plus eloquent vocals, of course has drawn comparisons to Alison Krauss. Supported by Union Station band members Jerry Douglas, Ron Block, and Dan Tyminski, along with the great Tony Rice and young banjo picker Cory Walker, Hull’s debut CD Secrets on Rounder is a strong introduction to her multiple talents. Hull began playing mandolin at age eight, and quickly became noted on the national festival scene for her fluid, inventive picking. She garnered several mandolin and guitar championships in the process. Hull even toured with Krauss and Union Station at one time, and has also performed on the famed Grand Ole Opry stage. Produced by Ron Block, Secrets does an exceptional job of showcasing Hull’s immense talents. Attempting to avoid a Union Station laden mixture, Block chose to spread these band members among the thirteen songs on the CD. Hull has even written, or co-written, three of the songs, including an outstanding knuckle-busting instrumental titled “Hullarious.” Hull displays her supple picking prowess on mandolin and guitar on this one, showing why she is held in such high esteem by many artists. Secrets does not rely on its instrumental strengths alone. Hull allows her vocal talents to shine in the title track “Secrets.” Supported by Douglas on Dobro, along with Tyminski and Block on harmonies, Hull’s vocals paint a pure musical picture far beyond her years. The playful “Everybody’s Somebody’s Fool” features Tony Rice on guitar, enhancing the vocal lead by Hull. “Pretend” displays the deeper bluesy talents of Hull. Ending the CD is a sparsely arranged gospel song “Trust and Obey.” Supported only by Block on guitar, this poignant song illustrates how touching Hull’s vocals can be, hitting you strongly in the chest. This is perhaps her best vocal on the CD, displaying much more passion that allows her vocals to flourish. Sierra Hull is poised to make a huge impact on the modern bluegrass scene. One can only wonder how she can continue to improve with experience. We should all enjoy this. 2008-05-13T20:34:01-06:00 http://www.americanaroots.com/reviews/detail/tab_benoit_night_train_to_nashville/ http://www.americanaroots.com/reviews/detail/tab_benoit_night_train_to_nashville/#When:18:23:01Z At forty years of age, Tab Benoit is quite young by blues standards. From a career standpoint Benoit is just now hitting his prime, which is a scary thought when you consider he’s already being compared to the likes of Stevie Ray Vaughan, Albert King, and Jimi Hendrix. Over the past six years since signing with Telarc Records in 2002, Benoit has released a string of critically praised albums including a Grammy-nomination for his 2006 studio record Brother to the Blues. More recently Tab was named “The B.B. King Entertainer of the Year” and “Contemporary Blues Male Artist of the Year” at the 2006 Blues Awards. Tab Benoit’s most recent effort, the live album Night Train to Nashville captures one of electric blues’ brightest stars doing what he does best, blowing audiences away. Recorded live at the Nashville blues club The Place on Second Street on May 9, 2007, just one day before he walked away with the two big prizes from the Blues Music Association, Benoit is joined on stage by Louisiana’s Leroux along with a string of special guests including Kim Wilson of the Fabulous Thunderbirds, Jimmy Hall of Wet Willie, Waylon Thibodeaux on fiddle, and Jumpin’ Johnny Sansone on accordion. Even Americana stalwart and Nashville resident Jim Lauderdale manages to jump on stage to add a country flavor to the blues proceedings. From start to finish Night Train to Nashville blows through eleven great tracks that touch on a range of styles and influences, stretching from the swamps of Louisiana to the blues clubs of Chicago. Benoit even manages just to throw in just a touch of twang for the Nashville audience, especially on “Moon Comin’ Over the Hill,” which also happens to be the sole track featuring the added vocal appearance by Lauderdale. No one track is to be overlooked but if you want to jump right into the album’s finer moments then you have to check out the soulful, straight-ahead blues found on “Darkness,” which happens to feature Benoit’s stand-out performance as a vocalist as he digs down deep to find both passion and power. The albums other high point is one of those dirty, sweaty, moaning blues numbers as Wet Willie’s Jimmie Hall adds vocals and a wailing harmonica to “Muddy Bottom Blues.” But if in the end you’re just looking to cut loose and boogie then head back to beginning for the lead off track “Night Train” which invites you to hit the dance floor with it swaying, pounding rhythm. At its heart, Night Train to Nashville captures Tab Benoit on a very special evening that is in many ways unlike any of his live shows. Joined by a collection of friends and blues legends, this record pays tribute to the years of hard-work and constant touring that have gotten Tab Benoit to this pivotal point in his career while providiing a small snapshot of the greatness that is sure to come in the years ahead. 2008-05-09T18:23:01-06:00 http://www.americanaroots.com/reviews/detail/firewater_the_golden_hour/ http://www.americanaroots.com/reviews/detail/firewater_the_golden_hour/#When:22:18:00Z Firewater is an interesting beast indeed. With a unique blend of rock, punk, and other worldly music influences, songwriter and lead singer known as Tod A. has put together an entertaining CD. “The Golden Hour” was recorded during Tod’s travels through India, Pakistan, Turkey, and Israel. This allowed him to put together a very unique combination of contributing artists and sounds, which mix together quite well. The lively sound adds much depth to the attention grabbing melodies penned by Tod A.. Firewater is the brainchild of Tod A.. Disillusioned with the political landscape of the U.S., Tod packed up and traveled the Middle East, the Indian Subcontinent, and South East Asia. During this three year tour, “The Golden Hour” was formed. The primal beats and rhythms drive this album throughout, maintaining an energetic flow that is sure to have the listener tapping along. From the opening track entitled “Borneo,” the cross culture influences are quite evident, and addictive. There is a dark political overtone to some songs here, so be forewarned. Tod A. is not afraid to state his true feelings toward the political landscape of the U.S. This can be somewhat alarming, if you are not prepared for it. “Borneo” is an anti-war song in which Tod states his disdain, and clearly wants to leave the war behind for a better paradise. Easily the most negative song is “Hey Clown.” Tod portrays his deep hatred for the current political administration, stating “Everybody say hey clown, we’re going to put you in the ground…burn your flag and piss on your parade.” Don’t allow the political overtones to make up your mind on this one. There is much more to this CD than negativity. “Weird To Be Back” and “Three Legged Dog” each show a lighter, and somewhat humorous, side to this band. Tod even contributes a more introspective look at himself appropriately titled “This Is My Life,” which is very well done. Firewater delivers a strong combustible musical arrangement with “The Golden Hour” that must be experienced to appreciate. Bloodshot Records once again displays their strong flexibility, allowing this universal music to see the light of day. 2008-05-07T22:18:00-06:00 http://www.americanaroots.com/reviews/detail/fred_eaglesmith_tinderbox/ http://www.americanaroots.com/reviews/detail/fred_eaglesmith_tinderbox/#When:14:07:00Z Sometimes a CD comes along that so well defines my current thinking I can’t seem to listen to anything else. Tinderbox is my latest musical obsession. I had heard the CD described as gospel for the unbeliever. After listening over and again and again, I disagree. Fred Eaglesmith believes in something, but, in his own words: Fancy God That God you got is a fancy God And he’s not the one I know He don’t live in parking lots Outside of monster homes My God ain’t in the government He don’t put on a big show That God you got is a fancy God And he’s not the one I know My God lives on gravel roads And goes down into hollers Goes down and saves the souls Of your very sons and daughters Your crystal meth And your cocaine breathe And your tingling to your toes That God you got is a fancy God And he’s not the one I know Fred has gone through major changes recently. Last year his right hand man and long time band mate, Willie P. Bennett suffered a heart attack. Then early this year, Willie died. I don’t know how much of the changes in Fred’s music can be attributed to his friend’s passing, but to be sure, Tinderbox is a departure from the sound and style I am accustomed to hearing from Fred. Spare, primitive sounds dominate songs with the beat and rhythm you’d expect from old negro spirituals sung out in the fields, perhaps set to the pace of a hoe clawing at the ground. Gospel themes dominate, but Fred’s version of gospel is more like that Jesus offered—that of someone reared in the real world, not the words of some priest or preacher—part of the accepted establishment. Fred sings of a dark, forbidding world, a world that is killing him, day by day. He cries for rain, for mercy, for justice, a farmer on bended knee in a worked up field, a soldier back from war, a desperate outlaw, someone’s crying from the very back row in a failing church; the world’s about to end and everyone knows. He prays, and prays and prays. Yet evil men sit in high places and prey on those below. Once again, Fred’s own words: You Can’t Trust Them Well out on the corner Of third and green They’re dealing prescription Amphetamines And you count your fingers When you shake their hand Cause they steal your wealth As fast as they can (Chorus) You can’t trust em Their souls are lost They keep taking Jesus Back off of the cross Lightning won’t strike em And the cops won’t bust em And all I know All I know Is you can’t trust em And their ivory towers They swing and they sway As they count up the hours Until you can’t pay And your worth is figured And your presence is rated And all of their interest Is calculated (Chorus) Bells softly ring Beneath their steeple They’re selling souls And they’re dealing people And the choirs sing The coyotes laugh And quietly they take Everything you have (Chorus) Tinderbox is an exceptional CD - the best I’ve heard from Mr. Eaglesmith and crew in a long time. And that my friends, is saying something. 2008-05-06T14:07:00-06:00 http://www.americanaroots.com/reviews/detail/mat_d_gasoline_rattle/ http://www.americanaroots.com/reviews/detail/mat_d_gasoline_rattle/#When:13:18:00Z Most of us round here became acquainted with Mat D (Matthew deRiso) through his recordings with his band The Profane Saints. The Sioux City Iowa native’s most recent CD, however, is a bare bones acoustic CD entitled Gasoline Rattle. He is joined by Kurt Mullins on fretless bass. This isn’t sitting around the campfire roasting marshmallows acoustic; It’s music more suited for roasting, better yet burning, hotdogs in the parking lot at a tractor pull. This is turbocharged acoustic. Several songs have appeared on previous CDs with the band and have been re-worked for this acoustic set. These include “Bound For Glory,” which was released initially on the Brand New Faith EP and two from the bands now out of print 2006 CD Small Town Burning. These are “Sweet Louise” and one of my favorites (not just for the name) “Bikini Bull Riding.” The backbone of the CD is the voice of Mat D. He’s been described accurately as a “young Steve Earle with a more powerful set of pipes.” This is Americana music broken down to its simplest form, guitar chords and voice, which makes for a refreshing listen. The number of tunes on the disc may actually be greater than the number of different chords in the music, yet despite their simplicity the tunes grab you. Although much folk music started simply like this, not many singers today could pull this off as effectively as Mat D. Another of my favorites is “Damnation Line,” an intriguing tune about accidents. I figured there had to be a story behind the tune so I asked Mat, who confirmed this. His father-in-law was killed in a motorcycle accident and he says this is what initially inspired the song. It is a fictional account of those who have died on the roads, railroad tracks or highways. Mat says the line “They can still hear the sound of that wreck going down when you sleep on the Damnation Line” are the dead and the living reliving the past in the story… I imagined all of these spirits waking up at night and visiting the places where they met their end; sort of a highway ghost story.” There is not a lot of uplifting stuff here. Other song titles include “Dead in New Orleans,” “Guilty Man’s Gun” and “Dirt Road Eulogy.” On the CD’s last track he does put the guitar down and pick up the mandolin for “Midway Babylon,” a tune with a bit of country feel that starts with, what else, love at the carnival: I met a circuit preachers daughter on a midway strip, she wore a white silk dress that hugged her truckstop hips well the years they hadn’t been too kind but a ramblin boy like me don’t mind We made love that night out on the tilt-a-whirl, and I swore I’d love that curvy midway girl… Good news: Mat has another CD is planned for late summer release.  I definitely plan on checking that one out as well! 2008-05-05T13:18:00-06:00 http://www.americanaroots.com/reviews/detail/texas_renegade_after_everything/ http://www.americanaroots.com/reviews/detail/texas_renegade_after_everything/#When:13:10:00Z Austin is home to yet another good Americana band in Texas Renegade. The guys in the band met through mutual friends or went to school together, formed the band in 2002 and started playing around Wimberley Texas, south of Austin. Their debut CD 3 A.M. was recorded in 2004 and now their new CD After Everything is available. The band is made up of songwriter Andy Bertelsen, lead guitar and vocals; Matt Pigg, drums; Eli Carver, bass; Tyson Carver, acoustic guitar and mandolin; and Kasey Klepfer on harmonica (2005 MTM Texas Music Awards Musician of the Year). Any band that boasts a full time harmonica player already has my attention. Several guests add additional guitar, organ and fiddle as well. Bertelsen’s songs are generally upbeat Americana tunes, well written musically and lyrically. Harmonica, mandolin and organ flavor many of the tunes. Standout tunes include “More Than I Deserve,” an upbeat ode in which Bertelsen sings: “I’m strikin’ this cord, cause she strikes my nerve.  She’s so much more than I deserve.” “Born to Love You” particularly shows Bertelsen’s talent with the lyric. I defy you to not tap your foot while listening to this great tune. A catchy mandolin line hooks you from the start, and he sings: My lips were never meant for this bottle of wine; and I know yours, they were meant for mine..... My blood was never meant for alcohol.  I guess I was always meant to fall. I’m not the type that ever misses much, but girl I swear I can’t live without your touch. The band actually goes a bit country/spiritual on the tune “Bar Ditch,” which starts a cappella: I met Jesus in a bar ditch, behind the wheel of my 87 Ford I met the devil at the bottom of a bottle, and he scared me straight to the Lord. Then the instruments kick in and we’re treated to another great tune. All in all this is a fine album from Texas Renegade with many highlights. In their credits they thank their families and employers “for allowing us the freedom to chase this dream.” I hope they keep chasing! 2008-05-05T13:10:00-06:00 http://www.americanaroots.com/reviews/detail/the_gibson_brothers_iron_and_diamonds/ http://www.americanaroots.com/reviews/detail/the_gibson_brothers_iron_and_diamonds/#When:13:45:01Z The history of country and bluegrass music is populated with brother duos who have left their lasting mark on the sound and direction of both styles of music. Their names have been listed, referred to, and revered for so long and so often that there really isn’t a need to go back over such familiar territory. But know this: If this string of stellar albums continues for the upstate New York brother duo of Eric and Leigh Gibson, we may be adding a couple more new names to that roll call before all is said and done. While the Gibson Brothers’ overall sound is generally described as bluegrass music, it should be noted that there is also a strong element of hard, roots country that lives and breathes in their mix as well. That mix of traditional roots and country style is on full display throughout the duo’s latest release, Iron and Diamonds. Part of the magic of the Gibson Brothers’ sound is their ability to chose songs to take on and then take those songs and make them their own. Take for example their version of Steve Earle’s “The Other Side of Town”. If you had never heard either version of the song before and then after one listen had to decide who was singing whose song, you would swear that Gibson Brothers’ version was the original and it was Steve Earle who was covering them. Part of the reason for this are the rich vocals from both Eric and Leigh that seems to stretch back through time and give the song they’re singing both an age and an agelessness that Earle’s rougher sound could never achieve. Another fantastic song choice comes in the form of Tom Petty’s “Cabin Down Below”. This time around the Gibson Brothers showcase their hard-driving, contemporary bluegrass approach and apply it to a song from the world of southern rock. Heavy on the fiddle of Clayton Campbell, with a bouncing banjo beat from brother Eric, and accompanied by Rick Hayes on mandolin, this one almost settles into the territory of Del McCoury but with a lot less lonesome and a whole lot of high. And while we’ve focused quite a bit of time highlighting the songs that the brothers Gibson didn’t write, we can’t overlook the fact that, in addition to being superb vocalists and fine musicians, Eric and Leigh also know how to tell a story and catch our ears with a catchy turn of phrase. Their storytelling is on full display in the album’s title track which tells the tale of their upstate New York home and the toils of work and the joys of play that are woven into the very fabric of mining towns up and down the mountain chains of New York, Pennsylvania, and West Virginia. For the men in the northern reaches of the Empire State the work was in the iron mines and the joy was found in the game of baseball. It is best described as “a life of iron and diamonds.” Other highlights on Iron and Diamonds include the upbeat and light harmony found on another of Eric and Leigh’s original numbers “Picker’s Blues”, which in its feel sort of reminds me of John Hartford’s “Gentle on My Mind,” the straight-ahead bluegrass number “Bloom Off the Rose,” and another great cover tune in the form of Julie Miller’s “Somewhere Trouble Don’t Go.” Iron and Diamonds in some ways seems like an appropriate title not only for the Gibson Brothers’ music, but for the heart of their music as well. Strong traditions born in mountain towns by hard-working people. Strong music traditions whose roots run deep into the ground. The green grass lining the country diamond where grown men go to play under clear blue sparkling skies. The sounds of bluegrass and country lines played by grown men clear and sparkling like diamonds in the sky. Both sides now. Iron and Diamonds. 2008-05-01T13:45:01-06:00 http://www.americanaroots.com/reviews/detail/griffin_house_flying_upside_down/ http://www.americanaroots.com/reviews/detail/griffin_house_flying_upside_down/#When:12:46:00Z Griffin House has had a busy decade. 10 years ago he couldn’t even play guitar. Now the 27 year old, who already has released multiple CDs or EPs is back with a new CD, Flying Upside Down on Nettwerk Records. The Springfield, Ohio native concentrated mainly on sports as a youth, but caught the performing bug in high school dramas, eventually landing the lead in a musical, which was the first time he’d sung in public. He was hooked! His new life course became very clear to Griffin, and his family and friends, when he turned down a golf scholarship at Ohio University to concentrate on music. Guitar lessons proved frustrating but he took the guitar to college (Miami of Ohio) and eventually learned enough to begin writing tunes. His first song was written for his former high school sweetheart whom he played it for eventually, bringing her to tears. He thought “man, if I can make people cry I’m gonna keep doing this. I’m gonna make as many people cry as I can.” Griffins’ songs do tend to pull on the heartstrings. He is a master of the love (or love lost) song, whether it be the beautiful opening track, the acoustic “Better Than Love,” the faster tune “The Lonely One,” or another standout track, “Let Me In” when he proclaims: “She’s out of my league and that’s the kind of girl I need I am the underdog & I’m about to take the lead...” Griffin attributes the preponderance of “relationship” tunes on the disc to a serious relationship that ended about the time the songs were written. Included is the common “it’s not you, it’s me” theme and the self-reflection of “The Guy That Says Goodbye To You Is Out Of His Mind:” “You don’t have to change a thing about you babe, I’m tellin’ you from where I sit you’re one of a kind Relationships I don’t know why they never work out, they make you cry The guy that says goodbye to you is out of his mind...” Like many of the finer songwriters that have come before him he is not afraid to comment on and question both government and religion. He gets at both on “I Remember (It’s Happening Again),” which he has said is his favorite song he has written. Tales told of war by relatives, including one on the Arizona in Pearl Harbor fight against wondering if the retaliation of the Atomic Bomb is justified and how among all of this “I heard some Christians say ‘What would Jesus do?’ What if you were on the wrong side would he point the gun at you?” As time marches on to the present, history seems to repeat itself and he realizes “I Remember, when I was a younger man, we were soldiers fighting in a foreign land; now we’re older, and It’s Happening Again.” The musicians on the disc were assembled by producer Jeff Trott (Sheryl Crow), including a pair of Tom Petty’s Heartbreakers; keyboard player Benmont Tench and guitarist Mike Campbell. Others joining in include Beck’s longtime bass player, Justin Mendal-Johnson, violinist Sara Watkins (Nickel Creek) and drummer Victor Indrizzo (Macy Gray, Aimee Mann, Daniel Lanois). Flying Upside Down is full of well written songs by a young songwriter who likely has a great deal more to say in the future! 2008-04-29T12:46:00-06:00 http://www.americanaroots.com/reviews/detail/the_weepies_hideaway/ http://www.americanaroots.com/reviews/detail/the_weepies_hideaway/#When:18:14:00Z Who doesn’t love a pleasant pop melody with subtly, even romantically subversive lyrics? How can you resist a song that is so aurally pleasing that you can’t help but listen even though its not your style; a song that appears innocent (and on some levels very much is) though hints at undercurrents with greater depth and tone? The answers to these questions surrounded The Weepies’ 2006 critical and commercial success Say I Am You, an album that exceeded anyone’s expectations. Especially The Weepies themselves: husband and wife singer/songwriter duo Deb Talan and Steve Tannen. Come on everyone knows you’ve really made it when you land a spot on Kyle XY (if you don’t remember that show it’s because you have a life and you don’t watch the Disney channel). Hideaway, the follow-up recorded in their home with friends, makes use of the same formula that garnered success on Say I Am You: a collection of superbly written folksy pop songs filled with tumbling, infectious melodies and surprisingly profound lyrical depth. In fact, it’s almost as if the songs on Hideaway were a collection of B-sides that simply couldn’t fit on the album but were certainly too well-written to throw away. It’s hard to pick out highlights on an album full of gems, but the first four songs serve to expertly forge the melancholic mood that pervades the rest of the album. My favorite tracks, though, are the two centerpieces “How You Survived the War” and “Not Dead Yet,” both of which exemplify the folk-pop style that the Tannens have mastered. There are a few tracks that aren’t really up to snuff, leading to lulls that should have been avoided on a record (and a genre) that already walks a fine line between piqued interest and waning boredom, but, generally speaking, Hideaway serves as an effective and appropriate successor to The Weepies’ 2006 breakout smash. Overall: B+ Why a B+?  Much like Say I Am You, this is an album you can put on at any time. It works in the morning, late at night, during the commute, during dinner…anytime. Aside from being an all-encompassing life soundtrack, though, the real beauty lies in the fact that Deb and Steve are capable of instilling a deep literary quality into songs that Disney is happy to use. Most albums with aural qualities like Hideaway don’t stand up to repeat listens, but The Weepies have made their way into the deep end and they don’t seem to be coming back. The bottom line is this: if you like Say I Am You (and most people liked it very much), then you’ll also really enjoy Hideaway. 2008-04-25T18:14:00-06:00 http://www.americanaroots.com/reviews/detail/the_dixie_bee_liners_ripe/ http://www.americanaroots.com/reviews/detail/the_dixie_bee_liners_ripe/#When:14:38:00Z You might not be familiar with this band yet, but if you like bluegrass in the style of Alison Krauss and Union Station you will need to check this one out. Lead singer Brandi Hart has all the range and soul of Krauss, with perhaps even more versatility. Hart teams up with band mate Buddy Woodward to pen all twelve songs on their new CD titled Ripe. The Dixie Bee-Liners draw their sound from traditional bluegrass, but add a twist all their own. Much of this is perhaps influenced by Woodward’s past pop and rock experience. The blend works well here throughout the CD. The songs lead the listener on a backwoods tour of Virginia.  The opening song titled “Down On The Crooked Road” is an upbeat number with many references to the musical heritage of the area, including the Stanley Brothers and the Cinch Mountain Boys. The band has some fun with this lively song. Not all songs are as upbeat, however. “Lord, Lay Down My Ball & Chain,” enhanced by the deep soulful singing of Hart and driven by the upright bass of Mark Fain, has more of a blues approach. “Yellow-Haired Girl” is a touching love gone-wrong-song. Rachel Renee Johnson on fiddle, along with Sam Morrow on banjo, do an excellent job setting the somber mood here. A nostalgic musical trip through Virginia would not be complete without some Civil War material. “Dixie Grey to Black” is a poignant song based on a true story of a mother’s tragic loss of her son during the war. Hart’s striking vocals shine on this touching song. “Grumble Jones” is a song about Confederate General W.E. Jones. Woodward handles the lead vocals on this one. Helped by Blue Highway’s historical buff Tim Stafford, this song draws from the life of a noted soldier during a time of war. Produced by Bil VornDick, the Dixie Bee Liners may be a band on the rise. Ripe displays a genuine love of pure music that is quite enjoyable. Hart and Woodward have written some true gems, and with the help of some great musicians, do an outstanding job. 2008-04-24T14:38:00-06:00