Appalachian music reviews

I was just introduced to this music in a playgroup for 6-12 month olds. They were all babbling and playing away when we turned on "I had a rooster". Within seconds the babies were completely silent and looking towards the direction of the music completely entralled! Some of them even started bouncing to it! A huge hit! I immediately came home and ordered a copy.

My parents borrowed this record from the library and recorded it to casette to listen to on our first long car trip.I was probably four years old. It quickly became a family favorite. Somewhere a long the way the tape was lost. Two decades had passed when just the other day I happend to catch a snippet of Froggie Went A Courtin on a public radio station. All of those memories came flooding back. Now I am buying it for my own children. I don't know what speaks more powerfully for this album than that.

My parents borrowed this record from the library and recorded it to casette to listen to on our first long car trip.I was probably four years old. It quickly became a family favorite. Somewhere a long the way the tape was lost. Two decades had passed when just the other day I happend to catch a snippet of Froggie Went A Courtin on a public radio station. All of those memories came flooding back. Now I am buying it for my own children. I don't know what speaks more powerfully for this album than that.

This production has stuck in our minds and is an inspiration for us, we thank you.
Respectfully ~ Maureen Tallman

This work of Copland created in me the what I believe to be the goal of good art: interest in the artist. I am now an Aaron Copland fan solely due to this CD and I now am searching music stores who might carry his work. Majestically melodious as well as quietly grand, Copland's particular style of composing American music is a joy to listen to. I enjoy listening to Copland's music because his music makes me want to listen to his music all the more. Highly recommended for those in love with the composition of music as well as listening to music.

Although Bernstein may be thought of as the premier conductor of Copland's music, these performances under the baton of the conductor himself are far superior in my humble opinion. In Bernstein's hands, for example, the hoedown from Rodeo is much too fast, Copland draws the music out and instead of cowboy music you have a true masterpiece of classical music. Listen to them consecutively, it is night and day. Same with Fanfare. It's also tough to beat the magnificent William Warfield's version of the Old American Songs, next to a version such as Marilyn Horne's, these (no knock on Ms. Horne) have gravitas and beauty. The sound quality on this disc, especially the tracks played by the LSO recorded at Walthamstow, is nothing short of astonishing, sounding better than the vast majority of modern digital recordings. A must.

I first read about Gwen Foster in an interview with Joe Filisko. I found this CD after doing a little research. Gwen Foster's harmonica playing is the perfect complement to Tom Ashley's voice. It is these songs that really make me float. The diatonic harmonica becomes a second voice on the record. Foster's tongue tremolo bird trills are more than simple ornaments. They are perfectly placed and controlled expressions of his heart and soul. I have always been a fan of high register harmonica playing. I also enjoy Bill "Jazz" Gillum's high register playing.

Clarence "Tom" Ashley is amazing. My favorite songs on this cd are the one he plays with Gwen Foster. Gwen's harmonica playing, filled with trills and bends at the highest notes sounds great behind Tom's high and bright singing.
Ashley played in many groups. A few tracks from each of of them are on this cd as well as some of his solo tracks. The groups he played with were called "The Blue Ridge Entertainers", "The Carolina Tar heels", "Byrd Moore And His Hot Shots" and "Ashley And Foster". The Blue Ridge Entertainers' version of "Corrina Corrina" and "Short Life Of Trouble" are the best versions I've ever heard. Buy this cd and buy the cd with Tom playing in the 60s with Doc Watson. that's a great cd too.

Ashley's version here of "Corinna Corinna," recorded shortly after the original record by the Mississippi Sheiks, features some of the finest Southern old-time two or three-part harmony ever recorded.

If you like Bluegrass this is a good collection of old favorites. Not much more to say.

If you love bluegrass at its best, this CD is for YOU!
Slow, fast, and in between beats!
Love it!

I just recently got into bluegrass and when I heard this album I now love bluegrass.With songs like foggy mountain breakdown,rocky top and old home place this cd is great!!!! I think that I'm going to go out and buy a banjo today.

OK, Never heard of Doc Watson? Well, thanks to my Dad, I have. This is easily his best album. You should hear his version of Froggie Went a Courtin. It is the best. Other songs on this album include Shady Grove, Tom Dooley, Alberta, Groundhog, there's even a duet with his late son Merle who flipped a tractor over on himself. If you love bluegrass, you're sure to fall in love with this album.

The title says it all, really - If you own only one Doc Watson recording, this should be it. Doc's flatpicking (on "Black Mountain Rag, for instance), his fingerpicking (on"Little Omie Wise", for instance) and his folk/gospel style vocals (on most of the tracks) demonstrate just why he's considered one of this era's finest musicians. Doc's range is remarkable, and on this CD you'll find him singing gospel a capella, playing guitar full steam ahead, harmonizing with his mother (really!), playing duets with his son Merle, and yodeling like, well, a guy who knows what he's doing. 26 tracks here, over an hour of music, a must-have for anyone who enjoys traditional music, bluegrass, folk, acoustic.

Getting this album was a trip back in time. My foot hasn't stopped tapping yet.

Aaron Copland (1900-1990)was the quintessential American composer of the 20th Century, and conductor Erich Kunzel with his Cincinnati Pops Orchestra is the leading popularizer of classical music.

This album brings together some of Copland's most well known pieces like "Fanfare for the Common Man," along with his three great ballets: "Billy the Kid," "Appalachian Spring" and "Rodeo." [The "Rodeo" extract "Hoe-Down" will be immediately recognized as the American Beef Council's theme music.]

Copland reamins the defining sound of American concert music and this recording is both accessible and very enjoyable. HIGHLY RECOMMENDED

Aaron Copland is without a doubt my favorite composer of all time. I have collected many CDs of his work over the years, and have therefor have many recordings of all his most famous works. With that knowledge, I have to say that this is not the best recording on the market.

The sparkle and jazz of Copland's style is missing from this CD. The orchestra doesn't show off the playful side of Copland's work, which is what I think sets Copland apart from every one else. That is why I don't feel that is the best Copland CD availiable today

Aaron Copland created classical music for about and by America. This extremely well performed and well selected album served as my true introduction to Copland's work. Vibrant,dramatic, passionate and utterly beautiful, this sampler of Copland's oevre really captivates the listener. I have lost many hours listening to "Quiet City" and "Appalacian Spring" two breathtakingly poetic pieces that approach religious like rapture. I have also used this CD in both my Writing and Acting classes as stimuli designed to inspire original performances and short stories. In short, this is a must own CD.

My family likes to put this disc in on shuffle and play name that tune. I wish they made more discs like this, only with more obscure works.

The Idiot's Guide to Calssical Music is an awesome Cd for those people who want to have a tiny sample of all the great classical compositions. Track 61 and 63 are my favorite.

Yes, this CD really does have 99 tracks. How do they do it? Each is about a minuet long. Some are longer, some are shorter, but you get the micro-essential moments of the music.

If you like burning your own CDs, then this is a great source for intra-track fillers, along the lines of They Might Be Giants' "Apollo 18" album, which has all of those short tracks on the end. The idea is to put your CD player on shuffle, so the short tracks get mixed in with the bona fide songs. The result being a very unusual album.

The booklet gives an explanation of the track, where you heard it (i.e. the Warner Brother's Cartoons, or on famous films), and where you can get the full piece of music. So it's a mega sampler CD.

I can honestly say that this CD is a great gift for the friend who has everything.

Long Way Back Home is my first Gibson Brothers CD. I unconditionally love their music and lyric. Their "Mountain Song" words and rhythm beautifully inspire my clogging interests. "Callie's Reel" is a magnificent follow up. I am looking forward to choregraphing two dances to go with these two songs. I so love this CD I am going to look into their other CDs. Thanks for writing, playing and using one of Roy Hurd's songs that brought me to your site. Becky

One of the most refreshingly original and pleasant-sounding new albums in the Americana and bluegrass fields... The Gibsons place solid 'grassy picking inside a warm, good-natured country-folk fusion, refining the efforts made by progressive newgrassers in the 1970s, hitting the magical stride that folks like Earl Scruggs and New Grass Revival were looking for all those years. In addition to a tone of finely-crafted originals, they also have several well-chosen covers, such as a version of The Band's "Ophelia" and "Satan's Jeweled Crown," from the Louvin Brothers catalogue. Bluegrass purists in search of hot picking and drag-race instrumental pyrotechnics won't like this album, but for folks who are interested in hearing new, well-written material and who are open to singer-songwriter influences, this album will be a long-lived favorite. Highly recommended!

From the town of Ellenburg Depot in the Champlain Valley in upstate New York., The Gibson Brothers emerged on the music scene in 1991 and put out albums on the Big Elm, Hay Holler and Ceili labels early in their music career. Their "traditional music with a twist" has won them many fans and a 1998 award for "Emerging Artist of the Year." In 2002, they signed with Sugar Hill Records and released the highly acclaimed "Bona Fide" in 2003. When not performing, Leigh is a dairy farmer, and Eric is a school teacher.

Their sophomore effort on the Sugar Hill label, "Long Way Back Home," continues their formula of a full, visceral brand of bluegrass built around the brothers' duet singing and songwriting. This disc consists of seven originals. Leigh Gibson contributes Dreams That End Like This, Any Man in His Right Mind, and I Gotta Get Back To You. Eric Gibson composed The Way I Feel, I'm not Wanted Here, and He'd Take Her Back Again. Drawing inspiration from the Adirondacks on a beautiful spring day, Eric collaborated with Roy Hurd to pen "Callie's Reel." In each case, the song's author sings lead with his brother singing harmony. The only number with three-part harmony (courtesy of Alan Bartram) is "I'm not Wanted Here." Although brother duet singing is a large part of their signature sound, I'd encourage them to consider a few more songs with additional harmony on future releases. Maybe even invite their little sis, Erin, back into the vocal mix now and then as they did on the "Bona Fide" album? Besides the traditional "East Bound Train," the band covers of songs by Kieran Kane, Gordon Lightfoot, Jackson Leap, Jaime Robbie Robertson, Chris Jones, and Edgar Edens.

Leigh Gibson plays guitar and sings. Eric Gibson plays banjo, lead guitar, and sings. The brothers are once again joined by their talented bass player Mike Barber and mandolinist Marc MacGlashan. Special guests include Jason Carter (fiddle), Luke Bulla (fiddle), Rob Ickes (dobro), Russ Pahl (steel guitar), Sam Zucchini (percussion), and Alan Bartram (harmony vocal). Another difference from the "Bona Fide"project is the band's increasing use of drums and steel guitar. These three original cuts (Dreams that End Like This, Any Man in his Right Mind, He'd Take Her Back Again) clearly show their distinctive, countrified stamp to some of their contemporary material. Now, with veteran experience to supplement their youthful energy, the Gibson Brothers' fame as bluegrass and country stars continues to grow. (Joe Ross, staff writer, Bluegrass Now)

mr holcomb doesn't sound very healthy. each song is sort of like a prolonged whiskey-laden death rattle. but they're also very full of life. as sweet as his voice is, i think my favorite songs here are the few instrumentals. "knife guitar" just rocks.

John's long essay on Roscoe Holcomb the person that comes in the booklet with the CD is worth the price of the CD. Cohen describes the contrast between Holcomb's recognition as a folk musician on a national level while he struggled to make a living in his home in Kentucky where the only result of his national fame was that he was cut from the public assistance he received.There are some sections of letters Roscoe sent Cohen that speak to Holcomb's struggle with life.

If anyone wants to see this illustrated, pick up the film John Cohen made called High Lonesome Sound (make sure you get John's film not the several copy cats later made about bluegrass using similar names). You see the contrast between Roscoe's old time music that seemed to be left behind by all the people around him for Nashville drivel or rock and roll. You see a determined hard working man proud to stick out like a hard horny thumb with his music in a world going another direction.

We get reminded here of the multiple sources of Holcomb's music. Rather than being the product of some prestine tradition, Holcomb's tunes and his ways of playing them show the profound mixture of cultures and influences that marked him and the mountain communities. We old English ballads played on blues harmonica, traditional unaccompanied sounding songs learned from 1950s Bluegrass records, and, of course, the blues blues blues played on guitar, banjo, and harp. We even have Roscoe Fiddling.

There are some nice versions of songs we're accustomed to hear in other people's versions like Darling Corey, Little Maggie, I Ain't Got no Sugar Baby Now.

Holcomb's music is a good antidote to current trends in revivalist old time music that tend to want to reduce fiddling and banjo playing to one or two regional styles--not real even regional but narrow local or even family styles-as doctrinally reinterpreted and "taught" by one or two virtuosi. Other variations, or having your own individual styles tends to be frowned on.

Yet, Roscoe Holcomb's unique style and fascinating music speak to that fact that traditional music in this country encompassed thousands of styles, regional styles, personal styles, left such great room for the personal expression of a true artist like Holcomb who could make each tune his own tune, not just a representative of some general type. It speaks to all the opportunities for ideas about music to flow to someone from old traditions, the radio, records, and people of all kinds coming up and down the mountains.

Likewise contemporary old time music focuses almost exclusively on fiddle tunes and banjo versions of them, without much recognition or orientation to songs sung for their content and expression. Yet, such songs are at the heart of Roscoe's work on both of the CDs. He uses his music fundamentally not only to move dancers around floors, which I am sure Roscoe could do and do well, but to concentrate the utter meaning of the songs to his life into his performances.

Finally, much contemporary old time music seems to follow the white flight middle class population that produces it and their fantasies about a less diverse past and the white purity of the music. Holcomb's music is so infused with blues and African American influence that when Cohen met Holcomb the first time and asked what he did, Roscoe Holcomb said he was a "blues singer!"

My wife gave an earlier Holcomb recording several years ago as a birthday gift. After listening to it once or twice (and reading the fascinating and impassioned liner notes), I set it aside as odd, strange, and most peculiar. Although Roscoe Holcomb is a fluid instrumentalist, his voice is so high and unusual that I did not see how his songs could bear repeated listening.

I was wrong, about as wrong as a body could be. A couple of years later, I picked up "High Lonesome Sound" again and listened to it with care. The peculiar and high-pitched voice grew on me, and I found the powerful and honest delivery moving in the most compelling way. I now think that Roscoe Holcomb stands on a par with Blind Willie Johnson (in his time an equally obscure and strange singer) as one of the greatest exponents of American-born and bred music.

Imagine my surprise when this new recording of Holcomb's was released. To my amazement, the leftovers that were not included in Holcomb's earlier ("High Lonesome Sound") album are at least as good. This is a wonderful and astonishing set of recordings. Lovers of American mountain music should be grateful that this legacy of Holcomb's great artistry has been preserved.

Based on the reviews I read about this album, I had high expectations. I am sorry to say that the album leaves me a little cold. The performances are superb, but unspontaneous. Another difficulty is with the orchestrations. In most cases on this album I think the flute just doesn't work. A case in point is Lover's Waltz, which is near perfect in the original Ungar/Mason version. Galway's flute just doesn't exude the same warmth. Another disappointment is Heart of the Heartland, which could have been an interesting conversation between Galway's flute and Ostroushko's mandolin. Instead we get another showcase for Galway with Ostroushko relegated to backup musician--what a shame! The only track I think that works well on this album is The West Texas Waltz, where we get a taste of how a really collaborative album might have sounded. I guess this album makes good easy listening, but it is certainly not the engaging album I would have expected of these folks.

You can feel his pride in his heritage in the way he plays on this CD

I get home from a hard day at the office and put on my headphones and am transported to heaven. If I had only two hours left of life on earth, I would want to listen to this album for one of them and we won't discuss the other hour please! Galway, Ungar, and Mason are superb. My wife and I were already of fan of Galway. Garrison Keillor's recommendation of "Waltzing with You" by Ungar and Mason (Sony) turned me on to Jay and Molly. Then on to "The Lover's Waltz" and "Harvest Home". The subtle blending and play between Galway's Flute, Jay's Fiddle, and Molly's Guitar . . . . God, there is nothing like it. If you buy this CD and don't like, I'll buy it off you and give it to a friend! ... Thanks Sir James, Jay and Molly.