Appalachian music reviews

This follow-up to 2002's DOWN THE OLD PLANK ROAD doesn't deviate from that album's successful formula of combining traditional Irish music with bluegrass and old timey country music.

Highlights include Tim O'Brien's foot-stomping rendition of "Shady Grove, John Prine's plaintive "The Girl I Left Behind," Ricky Skaggs' "Talk About Suffering/Man of the House" and Nickel Creek's performance of the centuries' old "Raggle Taggle Gypsy."

Several of these songs were not originally recorded for this album. "Fishmerman's Hornpipe/The Devil's Dream," which features the lightning fingers of Doc Watson, was recorded in 1980-81. Four other tracks (9-12) were recorded in 1992, presumably during the sessions for the 1992 release ANOTHER COUNTRY.

Overall, this is a thoroughly satisfying album from Ireland's best ambassadors of Irish music. [Running time 55:06] HIGHLY RECOMMENDED

Here we go again. This time around, I think the CD is highlighted by one of country's greatest living legends and one of bluegrass music's greatest young acts. That would be "Wild Mountain Thyme" by gentleman Don Williams and "The Raggle Taggle Gypsy" by Nickel Creek. There are some great pipe tunes on this one as well. Once again we have some themes which seem to exude Appalachia whereas others have a "Northerly" feel. Highly recommended.

Both "Plank Road" CDs are great for fans of Irish/Old Time/Country music.
Highlights on this one, for me, include John Hiatt's version of the Uncle Dave Macon song Jordan is a Hard Road, and Doc Watson with the Chieftains.
The Nickle Creek version of Raggle Tagle Gypsy doesn't do it for me -- I've been spoiled by listening to the Planxty version for years.
All in all a great listen, with an interesting historical connection.

This is an excellent, raw and emotional compilation of both classic and newer material. It captures well the UMWA organizing and wildcat days as well as the despair of the people in the mining camps-yesterday and today. As someone who has spent 12 years in coal mining, this reviewer is familiar with several of the songs and half the singers. This is not an entertainer CD. This is a cry of the stripped out, black lung'd and worn out miner and family, male and female. Sarah Ogan Gunning is another Mother Jones -synonymous with union organizing songs of the broadside type in the 30's. Hazel Dickens' plaintive voice on "Black Lung" makes your skin crawl. The other singers do equally well in painting the picture of Appalachian coal and it ain't pretty. These are my people and this reviewers heart was tugged by these sad songs. If you want background music, forget this CD. If you want to understand the heartache of the miner then buy it!

I am an artist residing in Birmingham, Al, but born and raised in Harlan County, Ky (which most of these songs are about). I was 20 years old when I left Harlan County, due to Arch Mineral's #37 mine closure in 1997. This was the last of the "Big Mines" in Harland County, there is nothing left but very shallow "dog holes", as miners refer to them. My Father has been I miner for over 32 years. He went from working in #37's 8-foot tall coal seam to the tiny 24-INCH tall coal seam of Blue Diamond Steel Co, In Lesley County. After about six months, 3 slipped disk, 2 ruptured disk, and a broken knee and torn shoulder, he had to leave to low coal at age 49. This Cd captures the excruciating life of the coalmine and the hard press individuals of the Harland County Area. I can recall hearing Sister Hazel Dickens sing at church as a kid- even at my age! This is a true find. I hope you enjoy! ...Dustan

www.dustancreech.com

This is an unbelievably dark and soulful album. The tragedies and the lives that are dealt with in these songs are rendered in a relentlessly clear-eyed fashion. This music is so deeply American that any "real" American should own a copy. I say real American because these are songs about people who are mostly hidden from main stream America, because they are too poor, mostly invisible, and so frequently silenced. These are people who just want the U.S. to live up to its own ideals. It is music so closely tied to the lives of people who just struggle to live decent lives that it really makes the listener want to build a more equitable nation. In short, it's music that is good for what ails you. Buy it now!!!! This is punk, this is soul, this is every kind of music which asked "will you be a gun thug or will you be a man" (women are included in this equation too). Its both deep blues (or deep hill music), and political statement

Everyone in this album turns in terrific performances. Some of which involve spontaneous harmonizing to deeply felt solo acapella performances -- very scary stuff indeed. Which side are you on? If you can't make up your mind after listening to this album, you have no soul!

The 2nd of this three CD collection is wonderful. My favorite though is the third one. Doesn't mean this isn't good. This Sony Copland Collection set is worth the money for. Copland is sooo much more then Appalachian Spring, Fanfare for the Common Man, Rodeo, etc... But you get a lot of typical Copland on these CDs. Songs we all know and love. But there are some unfamiliar good ones too. Concerto for Clarinet took me by storm. So did Letters from Home. Good quality, good booklet, good recording, good playing (how Copland got the London Symphony to play something right I will never know), good everything. It's not perfect because it doesn't compete with THE best Copland like the third CD set of this collection, or the The Tendeer Land. Oh, these three CD sets don't cover all Copland, but it does for the most part. It doesn't have many chamber works, two choral works, and his two operas. You can cover some of those with the full version of Tender Land and of Second Hurricane (which also comes with the choral work, In the Beginning). But this is a good series. I highly recommend it!

If you want a prime collection of Copland's more accessible works, this is it. Yes, it's true that Bernstein's recordings of individual pieces are often bolder and livelier; but this set offers the composer's own authoritative view of his work, and for that reason alone it is priceless. In addition, it includes virtually all the orchestral pieces he composed during his "populist phase," from El Salon Mexico (1936) to the Clarinet Concerto (1948). You won't find some of these lesser-known gems, such as An Outdoor Overture (1938) or Letter from Home (1944, written--like Rhapsody in Blue--for Paul Whiteman), on typical single-disc Copland compilations. I'd even go so far as to claim this as one of the four indispensable compilations of American instrumental music from the first half of the twentieth century (the others on my list--in case anyone cares--are Joshua Rifkin playing Scott Joplin, Oscar Levant playing Gershwin, and the Blanton-Webster band recordings of Duke Ellington).

What amazing riches flowed from Copland's pen during the period covered by these three discs! Billy the Kid (1939), Quiet City (1940), Our Town (1940), Fanfare for the Common Man (1942), Rodeo (1942), Lincoln Portrait (1942), Appalachian Spring (1944), and the Third Symphony (1946)--all are here. Some of this music is so familiar, so deeply ingrained in America's cultural consciousness, that we might be tempted to take it for granted. But imagine how much poorer the American concert repertoire would be without it. It's almost impossible, at this point, to conceive of a time when this wonderful music--which is to America roughly what Mussorgsky's music is to Russia, Grieg's to Norway, and Falla's to Spain--didn't exist. It was during the dozen years covered by this collection that Copland pulled away from the pack of his talented contemporaries (Hanson, Thomson, Harris, etc.) and, in a way, but with greater technical sophistication, filled the void left by the tragically early death of Gershwin, whose heyday, 1924-1935, immediately preceded the composition of the works on this collection.

The ballet music is all presented here in the familiar orchestral suites Copland arranged. Most of the selections are played by the London Symphony Orchestra, although the New Philharmonia and the just-plain Philharmonia get cracks at a few key works. The last-named orchestra, for instance, takes on the biggest piece on the program, Copland's Third, the closest thing American music has to a Beethoven's Ninth (although the work's sublime rhetoric has never completely convinced me--it's neither my personal favorite by Copland nor my favorite American symphony . . . but it sure has its moments). In addition to the fine orchestral playing, another treat is that Henry Fonda narrates the Lincoln Portrait--an almost inevitable pick, given the virtually mythic way his acting style embodied the American spirit and the fact that he had portrayed the sixteenth president in John Ford's classic film Young Mr. Lincoln (1939).

The set concludes with what, over the years, has become my favorite work by Copland, the Concerto for Clarinet, Strings, Harp, & Piano, written for and performed here by surely the last century's greatest clarinetist, Benny Goodman. This work effects a concise synthesis between Copland's mature style and his earlier jazz stylings from the 1920s; in addition, the searing eloquence of the opening slow movement seems to me the most profound lyrical writing Copland ever achieved. Stoltzman's recording, ironically enough, swings harder than the king of swing's, but this collaboration between the composer and the man who commissioned it is for the ages.

The only major "populist" scores written after the period this collection covers are the film scores to The Red Pony (1948) and The Heiress (1949). Both can be acquired on an essential Leonard Slatkin CD for RCA. And since this collection doesn't include chamber music, the great Violin Sonata (1943), a kind of more intimate counterpart to Appalachian Spring, will have to be sought elsewhere. (One good option is Gil Shaham/Andre Previn on DG.) A serious Copland collector will also want to grab the other two volumes of the Copland Collection itself. The early set features important works such as the Organ Symphony (1924), Music for the Theater (1925), and the Short Symphony (1932)--but both of the other collections also include long, thorny pieces like the early Symphonic Ode and the late Connotations that can be rather difficult for the average enthusiast to enjoy.

Most of the essential, universal Copland is to be found on this second installment of the Copland Collection, and I would definitely recommend it as the place to start exploring Copland's magnificent contribution to American music. It has been a wonderful and treasured companion of mine for many years, and it also serves to conjure up a timely and inspiring vision of open prairies, nocturnal cityscapes, and the populist, humane values that America should, ideally, epitomize.

I purchased this set of Copeland CD's because I wanted the Tribute to Lincoln narrated by Henry Fonda. This is a masterful recording especially for Americans in this time. The Tribute sends chills down my spine whenever I her it. My greatest joy however, was how much I have enjoyed all of the CD's in the set. I tend to be much more of a classical listener. I have heard Copeland but not in any organized fashion. This set has brought a new and delightful experience to my listening options.

Tilson Thomas flirted briefly with trying to be the next Bernstein but luckily has gone his own way. He is not a fiery or driven conductor--one can't say of him that he is possessed by music, a phrase Bernstien used about himself. In these Copland recordings he certainly conducts well, but the spirit of Copland seems lost among the careful detailing. This should be simple music to conduct but somehow only Bernstein catches the rollicking joy, the democratic dance rhythms, and the underlying sophistication at the same time. These readings strike me as too sophisticated by half, although they are in great sound.

Michael Tilson Thomas has long been known to have had a happy and fruitful relationship with the great Aaron Copland. His intimate knowledge of Copland's music and heart are evident in these recordings. The second symphony and the Appalachian Ballet(! as opposed to suite, which leaves out a very gorgeous, mysterious movement) are gorgeously rendered, as is the inimitable Fanfare for the Common Man. Billy the Kid is always a delight, of course. The Orchestral Variations are so invigoratingly different from what most people think of when they think of Copland, and this rendering is lively and precise. If I had one complaint, and it is a small one, it would be that I had a hard time with this interpretation of Rodeo, which didn't seem to find it's rhythm and gallop the way I'm used to. Still good, but I've heard better.

But for me, an aspiring composer, the thing that puts this set over the top is the absolutely delightful commentary on the contents of the set by MTT. Not only do you get to hear a wonderful history lesson, but MTT obviously has a light, joyous love of music, and particularly that of Copland, that is infectious and inspiring. After hearing the commentary, I found myself much more deeply involved in the second listening of the set. I must disagree with the reviewer who compared MTT with Bernstein, not that one has more "quality" than the other, but that such a comparison has any merit or point in the first place. They are two very different people. MTT's commentary makes this set a must-have for Music lovers and especially for Copland aficionados.

Having heard MTT perform Copland live and with astounding impact I was delighted with this set. MTT's perfomances are exciting and have alot of insight. The 'Modernist' CD is perhaps a little dry compared with the 'Populist' one but the two compliment each other well as a result. MTT's comments as an interpreter and friend of Copland are invaluable and provide an accurate and lively interpretation of the composer's music. He delivers his words with great enthusiasm and clarity and his 'scat' singing on the disk is not to be missed!.. All in all this is a great box set and every Copland fan/student should have it. I hope it's not too long before MTT releases a recording of the 3rd Symphony - if it turned out like this set then we would have another definitive Copland recording.

For those who are interested in a good overview of Leonard Bernstein's work, as well as his interpretations of other American composers, this two-disc set will serve well as a starting point. Always lively, sometimes even seeming erratic, but always strikingly beautiful, Bernstein's style of conducting is not only an excellent match with his own compositions, but with those of Copland, Ives, Barber, and Gershwin.

Overall, most of the performances are excellent, deeply moving. Even the one piece I have a problem with is for the most part an excellent rendition. But, the only warning I must give about this set is this: on "Appalachian Spring", a piece I dearly love, there is a terribly loud and disturbing cough a few minutes before the "Gift to Be Simple" section starts. Perhaps I have a high degree of sensitivity to that kind of flaw, but for me, to have such a horrible noise right at such a sensitive part of the recording is quite an oversight. It's far more than papers shuffling around, which is to be expected. And at such an inopportune moment, it really breaks up the feeling of the piece. Surely a better Bernstein performance could have been chosen, one along the lines of the excellent 1962 rendition with the New York Philharmonic.

I certainly don't recommend against this album--in fact, I suggest buying it, given the superb quality of the other compositions, but if you are extremely interested in "Appalachian Spring", don't throw away your old version yet. You may be needing it.

For anyone who likes to discover American classical music this CD is a good one. It's conducter has been a most important figure in modern American musical tradition, one to be really very proud of. This CD show some of his masterful performances and compositions. The recording of this CD is well done by Deutsche Grammophon. There is only one thing I do regret: both CD's are packed in a booklet that looks nice, but is very unpractical. Be careful not to damage the CD's by taking them out! Or prevent them falling out and down to the floor. I simply miss a proper box with a booklet and some pictures of the legendary Bernstein in action within. It is really a pity that the Universal Music Group choose for this rather cheap looking booklet. Bernstein deserved much better! So I advise you to buy an additional proper CD-box yourself, for storing these beautiful CD's clean and safe. I give five stars for the CD's minus one star for the cheap way they are presented.

I received this recording as a gift, and I am extremely pleased with it.

This is a great collection of all-American music. The first disc contains four selections from Bernstein's symphonic output. If you haven't heard the Symphonic Suite from "On the Waterfront" you don't know what you are missing. The second disc features music by other well-known American composers, as well as the mysterious "The Unanswered Question" by insurance salesman Charles Ives.

Without exception, the sound quality is excellent. You can't go wrong with this collection of great music.

Featured on this CD is the entire Appalachian Spring ballet, Billy the Kid ballet suite, and four dance episodes from the Rodeo ballet. All are masterpieces presented with an entirely new interpretation by Michael Tilson Thomas.

With Billy the Kid, Aaron Copland's future is written for him, a composer whose music evokes rural Americana. The opening introduction where he depicts "The Open Prairie", his sound is born, large spacings of octaves, fifths, and fourths give an expansive panoramic feeling. The other parts of the suite are represented: "Street in a Frontier Town", "Mexican Dance and Finale", "Prairie Night" (Card Game at Night), "Gun Battle", "Celebration" (after Billy's capture), "Billy's Death", and ending with "The Open Prairie". All are depicted with soaring strings, chatty woodwinds, blazing brass, and a battery of percussion. Appalachian Spring is a pioneer celebration around a newly built farmhouse and a young couple about to tie the knot. Of course, the famous Shaker Tune is in this, but split up by a dance sequence, and the entire work ends rather peacefully. Sounds of his opera "The Heartland" can be heard here, as well as Copland's great driving rhythms. The Rodeo dance episodes include Buckaroo Holiday, Corral Nocturne, Saturday Night Waltz, and the famous Hoedown. Copland's great writing of melodies (all catchy), interesting harmonies and orchestrations, and those fabulous driving rhythms are the apex of his American sound, all played in Rodeo within a relatively short amount of time.

All the music is played excellently by the San Francisco Symphony. Michael Tilson Thomas gives a cerebral and intelligent interpretation, but never gives way to sentimentality or overt drama. I think that is all that is missing from these works is a little extra drama. This makes Leonard Bernstein's version of all the suites a slightly better buy. That and Billy the Kid and Appalachian Spring are on only one track (30 minute works). Not a bad CD by any accounts, it is easy to recommend after the Bernstein.

Aaron Copland is a composer who seems to flow in and out of favor with the critics but remains in the bloodstream of American audiences. This recording by Michael Tilson Thomas conducting the San Francisco Symphony offers three of Copland's most familiar masterpieces in performances that truly underline the genius that was Aaron Copland. Given that many conductors, not the least of which includes Leonard Bernstein, Thomas Schippers, and Marin Alsop, have given superb performances of each of these ballets, it may sound presumptuous to claim that this Tilson Thomas recording is the Gold Standard. But just listen to the energy of performances and the quality of interpretation and recording and see if you're not hearing these pieces anew.

MTT draws exceptionally fine playing from his SFO and his tutelage with Leonard Bernstein is apparent. But MTT has extensively studied these scores and has his own opinions - opinions that make the works each more solid and sound. 'Billy the Kid' has all the combination of menace and danger of the tale but also manages to bounce into wildly exuberant dancing. The four episodes from 'Rodeo' are full of fire and vixen and celebration and elegant writing. But for this listener the finest achievement is in MTT's choice of recording the full ballet 'Appalachian Spring' and not for the original 'chamber (read 'pit') orchestra', but instead for the full orchestral version that allows more color, more sensitivity in sparring orchestral choirs, and in more radiant innocence and beauty of tone. This is a stunning achievement and one by which all other performances and recordings must be judged.

For those whose library already holds individual recordings of these Copland works, this triad is a must. For those who have liked but have never taken Copland seriously, the experience of these performances will alter the appreciation of Aaron Copland as one of the populist masters of the last century. Highly Recommended. Grady Harp, June 06

Whenever I see "The Magnificent Seven", "On the Waterfront", "The Natural", even "Waiting for Guffman" or any number of films that use music to reflect some aspect of the American experience, I think of Aaron Copland. He didn't compose any of those scores, but his musical influence is so pervasive in our collective consciousness that one can only describe the music as "Coplandesque". Aptly entitled "The Populist", this superb disc was recorded in December 1999 and presents Copland's three classic folk ballets: "Billy the Kid" (1938), "Rodeo" (1942), and the complete version of "Appalachian Spring" (1944). Bernstein's version may have been the most definitive, but make room on your CD shelf for this one. With the masterful Michael Tilson Thomas conducting the San Francisco Symphony Orchestra, it's sensational.

It opens with "Billy the Kid", here a 21-minute single movement suite that contains the dark coloring suitable for a killer in the Old West. The arrangement presents a haunting atmosphere amid a basically romantic theme with a strong sense of distance and open space as emphasized by the muted trumpet solo in the middle. This is followed by "Rodeo", a 19-minute piece in four movements, which presents a comparatively more wholesome story that is meant to inspire lively dancing with the "Saturday Night Waltz", an especially lovely "Corral Nocturne", and the boisterous "Hoe Down", among other folk-inspired material. Running 35 minutes in a single movement, the capper is the Revivalist episode of "Appalachian Spring" in its full orchestral scoring. Vividly played, poetically paced and stunningly recorded, it is as close to the definitive version as exists now given its full scope. Spread over a greater time span than condensed versions and interspersed with music of significant unease and conflict, the piece takes on a wider portrait of community struggle. In particular, the familiar Shaker melody "Simple Gifts" expands through a series of variations to make an epic statement complete with triumphant brass. Thomas takes his time in unfolding his Americana with all the skill of a great musical dramatist who knows exactly how to pace his story. No matter how many times you think you've heard all of these pieces, I can tell you this is one you will treasure.

Aaron Copland's compositions are the epitome of American folklore as well as twentieth century American classical music that has reached a worldwide audience. Various conductors and symphonies/orchestras have given his compositions different interpretations. Hungarian conductor, Antal Dorati and the London Symphony Orchestra and Minneapolis Symphony offer their rendition of Copland's ballet masterpieces for this Mercury recording. If one was an aficionado of classical music, the difference is easily identified. However, if one simply listens to the music without prior influence of watching the ballet versions of the pieces that are presented on this CD, the music speaks to the listener and creates a vivid picture of imagination that lends itself to one's own interpretation without serious criticism.

When listening to "Appalachian Spring," a picturesque image comes to mind. The first movement comes in peacefully, which may resemble the sun rising amidst a barren plain or a mountainous terrain. "Billy The Kid" captures a gun slinging outlaw as he encounters his death that is finely represented with loud blows from resounding drumbeat. "Danzon Cubano" and "El Salon Mexico" are also notable pieces that present a Latin Sound with much emphasis from the percussions, strings, and the brass section in order to present a gentle Mexican landscape.

Overall, this interpretation of "Appalachian Spring" and the other pieces was a delight to listen to. The liner notes provided helpful background information about the pieces as well as how they were derived.

This CD contains one of the best proofs that testifies by itself about the interpretative freshness and unequalled exacerbated mood of this outstanding Hungarian playing a national treasure as Copland was.
This is to my mind the only version that you might set joined with Bernstein' s New York Philharmonic in which musicality, nuance and effervescence concerns
Go for this treasure.
Five thousand stars rather than five.

Something happened to the copy of the previous I wrote a few weeks back, so I'll clarify here.

Gene who wrote the other review here is wide of the mark because I don't think he knows enough about the music to make his statements. To clarify: these are not original versions of the Kid and Spring, but later symphonic orchestrations that dispensed with gallop ons and offs. Therefore, they're not exactly complete either. In any event, they are sublimely performed and recorded, the best available by quite a bit.

The comments about Minneapolis Symphony clams, etc., is also off the mark because of the descriptive requirements of the scenarii for Rodeo, Cubano, Mexico. The orchestra for Rodeo is fairly small for Copland, the Cubano commission required the performance paradigm of a music hall orchestra, and El Salon Mexico takes place in a sleazy cantina. Super-refined Eugene Ormandy readings are not appropriate for any of these. Dorati knows it, and conducts accordingly. Gene doesn't know it, and writes/listens accordingly.

If you'd like precedent for Dorati's approach, I urge you to dig through old vinyl shops and find Koussevitsky where the super-refined Boston Symphony plays like lummoxes (sp?) in Mexico and Cubano or Mitchell where the National Symphony of DC makes you smell the tequila under the barely-turning fans in the 100 degree heat.

I don't want you to pass up Dorati's extraordinary disk because of misinformation in a customer review.

There are no two ways around it, this is an excellent collection of performances by one of the true mountain masters, Hobart Smith. First off, if for no other reason, get this disc for his rendition of Cuckoo Bird. This continues to be the single most intense banjo playing ever applied to this excellent tune. Hobart's playing is full of fire and drive and will certainly shake you up. An absolutely incredible piece for comparing/contrasting with other excellent versions such as those on the Black Banjo Songsters Of North Carolina & Virginia cd, Clarence Ashley's Greenback Dollar disc, etc...

Last Chance is another banjo masterpiece that isn't far behind Cuckoo Bird.

Unlike one of the previous reviewers, I'd say that I prefer Dock Boggs' voice to Hobart's but that's just splitting hairs. They are both two of the greatest musicians to ever attack the banjo. Although Hobart does hold a certain distinction for being such a great musician on so many instruments, of which this collection includes him on banjo, fiddle, piano, and guitar. I'm not a huge fan of the several piano pieces though, except for Dixie, which is probably my favorite version of this tune that I have ever heard. Still though, in my opinion, Hobart's magic came predominantly on the solo banjo tunes (and/or banjo & vocal), and secondarily on the fiddle, particularly solo fiddle tunes. He has excellent tone and just... well, he puts the notes where they need to be.

With the ever-growing dominance of style-over-substance in American culture, a disc such as this means even more to me. For quite a while the hills really were alive with the sound of music. Now those sounds are the echoes of fading memories, more often than not.

Hobart Smith was a wonderful musician. This is a great collection.

If you consider yourself even a passing fan of old-timey, Appalachian, blues, or bluegrass music, do not pass this one up. Hobart Smith was a distinctive and unsurpassed banjo player and fiddle player, a fine piano and guitar player, and had a much more accessable singing voice than many of the old-time banjo players. Dock Boggs, Roscoe Holcomb, etc. were fine musicians, but their voices were acquired tastes, so if you are looking for old-time music with a much more accessable voice, Hobart Smith should be right up your alley. Don't try to pigeon-hole him with Dock and Roscoe, though. Stylistically, Smith ran the gamut of American folk music through to his death in 1965, drawing equally from white and black traditions. Whatever he played, though, he played with soul and energy. As an added bonus, the liner notes are fantastic, providing information about the man, his styles of playing, and the songs themselves.

If you are looking for more music in this tradition, Dock Boggs' "Country Blues," and Roscoe Holcomb's "High Lonesome Sound," are fantastic recordings, but their voices are, as mentioned earlier, an acquired taste (particularly Dock Boggs). Much easier on the ears is Doc Watson, another amazing multi-instrumentalist who played in many styles, and is the father of modern bluegrass guitar. Fans of Hobart Smith should make sure they own his self-titled album, and "Old-Timey Concert." John Hartford carried the tradition of energetic multi-instrumentalists in the old-time tradition through the 70s, 80s and 90s, and "Mark Twang" is somewhat like this album, but "Aereo-plain," and, "Morning Bugle," are also particularly worth owning. Norman Blake, of course, played a lot with the late Mr. Hartford, and "Whiskey Before Breakfast" is a true classic. If you are feeling truly adventurous, try listening to Alvin Youngblood Hart's "Territory," on which the nominally "blues" musician covers a range of American musical styles, old and new, on a range of instruments with a vitality that puts to shame those who play traditional styles for scholarship rather than for the sake of the music.

I ordered this CD after listening to Appalchian Spring performed at the Symphony. This was the very first SACD I ordered after I got my Pioneer DV-45A. Now, the music is outstanding. It's amazing at how 3 dimensional and wide the music sounds. My dislikes are stronger, however. The CD, though it is an SACD, is only recorded in 2-channels! I ordered this CD expecting to get all 5.1 channels of music. My other major gripe is the amount of background hiss. Being an SACD, I would have expected there to be practically no white noise/hiss on the recording. WRONG! There is quite a bit of the noise that is plainly audible, and you can hear it at every quiet moment of the SACD. The music is outstanding, the performance was great, BUT there are only 2 channels to listen to, and there's way too much unwanted noise for being an SACD! If I had it to do over again, I would have purchased the regular CD version of this and saved 10 bucks.

This is a tranfer to SACD of an older recording. Yes, it is only 2 channels- stereo. However, on any decent system it has a very natural sound with the ambient information conveyed as only SACD is able! Yes, there is some hiss- an artifact of the analog master. It is not a problem for me. The recording and the performance are great!
Something to note: I have the LP, CD, and SACD of this recording. The LP always had a more natural tonality. The CD was always cleaner (being a digital copy), had a harsher top end, and a limited soundstage. Instruments lost their "roundness" and harmonic flavor on the CD version. The SACD is the ultimate: it has the "roundness", smooth treble, spacial detail, of the LP, and the clean pop-free sound of the cd. Simply amazing!

This is one of the SACDs that can make anyone a believer in the new format. The performance is top notch to begin with, but it's the quality of the recording that caught my attention, even though I have other good recordings of these pieces. Instruments truly sounded live and spread across a 3 dimensional space. Hall sounds were distinct from the music - you could tell the hall was empty when the recording was made and you could easily time the primary reverbations. Every instrument and distinct sound seemed to exist in its own space. Only complaints are that overall sound is a bit bright, typical of the era of the recording, and the hall reverb was too strong, probably due to the empty space.

Sixteen tracks, taken from the Family's two year sojourn with Decca (June 1936 - June 1938). There are no repeats from their Victor years, unlike the 1935 recordings for ARC. Some familiar items are included. 'Coal Miner's Blues' is here, along with 'My Dixie Darling', 'Hello Stranger', and 'You Are My Flower'. Personally, I was disappointed because of the recordings that weren't included. 'Never Let The Devil Get The Upper Hand Of You', 'You've Been A Friend To Me', the bluesy 'Jealous Hearted Me' and the humourous 'Stern Old Bachelor' are fine tracks that would have been worthy of inclusion, and would have made the album a little more varied in its content. But the ones that have made it on to the CD are fine. This is the period that many fans regard as the Carters at their peak, performing with the polish of a group with many years experience of singing and playing together. The sound they produced is much smoother and easier on the ear than their earlier Victor recordings. And, at this price, there can be few complaints.

This CD is limited to their Decca recording days in 1938, but
the Carter Family never sounded better. Their earliest recordings are very significant, but the primitive recording
techniques can be noticed in the music recorded in the 1927-28
era.
In this CD, however, the fabulous sound is amazing, considering
the date of origin, and the group harmonizes perfectly, and their singing is much more polished than in their beginning
days. The sound in this CD is so good you can hear Sara's voice as never before, and the details of Maybelle's picking
are also evident. The sound is so good, we can hope the sound
engineers were given a proper "pat on the back" for their inspired efforts in getting this music onto the CD format.
It's hard to believe the originals were this good.
Yes, a couple more songs would have made it getter, but the selectons are good, considering being limited to the Decca recordings, and we have to appreciate this unique offering.
The Carter Family singing is so good here, in some songs many
listeners will have difficulty keeping dry eyes when they concentrate on the music.
This belongs in every country music collection.

This album shows us yet another example of how the Carter Family grew from their original Bristol sessions into a polished, professional act. Having been introduced to the Carter Family at a very young age, I found this album to be moving and very clean. I still weep upon hearing "Just A Few More Days." I have thoroughly enjoyed this album and have become an even bigger fan because of its content. "Answer To Weeping Willow" shows me how that the group was versatile in their response to fans'enthusiasm. How many acts today follow up with a song as good as the one that inspired it? Maybelle's playing is flawless, as usual. I think this album is a must for any and all Carter Family fans.