Appalachian music reviews

the first thing that you must understand is that i am a metalhead to begin with. One of the bands that I like is a metal band by the name of Opeth, they are very heavy and dark, but they have accoustic classical guitar all throughout their music, with metal. I decided that it might be cool to check out some classical guitar because I love how they do it in their music. So I bought this CD and loved it! I love their mideival sound that they produce, wonderful!
(Pacific Coast Highway is the coolest track(8)!!)

This was and is such a remarkable disk, nothing has yet come close to match it's mix of styles and songs. It definitively marked the quartet's goal to step beyond the traditional classical into an adventurous realm of jazz, rock, african, americana, and even tossing in a little humor, without becoming "crossover" or "world music" as they now have. York's compositions "Quiccan" and "Bantu" move convincingly/decisively, unlike his drifting, overly subtle style of late. "Labyrinth" is such a great piece, I wish Ian Krouse would compose an entire cd for the group (his "Folia Variations" on their Evening in Granada" cd is also great). The Copland arrangement is full of energy and the Basie and Sousa pieces are just plain fun. This was the reason everyone started talking about this group, which makes it all the more sad they're going the direction they are now. Come back! Come back!

The L.A.G.Q.'s wide ranging abilities are well represented in this eclectic collection of twentieth century music. Ian Krouse's Labyrinth is a striking, intense homage to Led Zeppelin. His characteristic use of hammering dissonances resolve masterfully into fun, driving, bluesy rock passages. Andrew York's Bantu is a perfect platform for the quartet's ability to utilize the guitars extended techniques. The piece opens with all four members playing different rhythms and timbres on the body of the guitar. Each member then drops out of his rhythmic pattern and into a harmonic framework, one at a time, until all four members are doing so. The piece is concluded in a retrograde of the same pattern. One may question a guitar quartet's ability to do justice to the dynamic nature of Aaron Copland's Simple Gifts, but this outstanding performance should put such concerns to rest. Each piece on this disc is executed with the kind of exuberance and taste for which the Los Angeles Guitar Quartet has become known.

Having just reviewed another of John Cohen's excellent collections (High Atmosphere) yesterday, this seemed like a natural choice for today. This was recorded in 1959.

Obviously the biggest "star" here is Roscoe Holcomb. He is the one person on this 2-disc set who is the most well-known to the largest number of people, but this is by no means a one-man collection. In fact, I don't even consider Roscoe to be the best musician present here. For the life of me I still cannot figure out why Bill Cornett's name isn't thrown around as "one of the greats". His voice and banjo playing, particularly on Pretty Polly, Old Reuben, Born In Kentucky, Sweet Willie, etc... just knock me out. Born In Kentucky being a variant of the more well-known tune, Dark Holler.

J.D. Cornett has a fine solo-vocal version of Spring of '65, and you do indeed get some fine stuff from Roscoe here in case he is your main focus. From bits of Jack-A-Roe to one of his "I made it myself" tunes where he then lifts an entire lyric from a Blind Lemon Jefferson tune, though neither he nor the liner-notes make mention of this. Plus, I will take Roscoe's Wayfaring Stranger over Bill Monroe's any day of the week. All in all, it's good stuff!

Moving on, I personally am not too much for the sets of church tunes, aside from Clap & Shout on disc two. However, there are alot of jewels in the sand of disc two. The highlights of disc two, for me, come in the form of Granville Bowlin's segment, Mrs. Sams solo-vocal Wagoners Lad, James Crase's various fiddle tunes, and Lee Sexton's solo banjo St. Louis Blues and his Pretty Polly that is rather closely related to Bill Cornett's but not as powerful. I just love Mrs. Sams' voice. Everyone has their own aesthetic of what is good and what isn't, and for me, Mrs. Sams is just exactly what a wise old female mountain singer should sound like.

There is such a richness and rugged individuality to all these performances that it just breaks your heart to know that for the most part, these traditions are gone. At least we were lucky enough to have someone like John Cohen roaming the hills and making these priceless recordings for all of us.

This is a marvelous collection. Along with "High Atmosphere", I consider it essential to orient you to the way the music really sounded. Most people come to Old Time music from some place else...bluegrass, country, or one of the great modern oddities like Old Crow Medicine Show or The Bad Livers. Perhaps you got the bug from "Oh Brother Where Art Thou". Well, you're on the right path with this very big 2 CD collection that not only has achingly beautiful a'capella balads, red hot fiddling, and some really phenomenal banjo work, but also haunting church shape note singing. Get "High Atmosphere" as well, and once you've absorbed them, branch out from there.

GREAT CD. THE CD CASE IS KIND OF DUMB, BECAUSE IT LIST THE ARTISTS AND TRACK NO. ON WHICH THEY PERFORM, INSTEAD OF THE ARTIST AND THEN THE SONG. THE SONGS ARE WRITTEN ON THE CD LABEL THOUGH. STILL A GREAT CD. VINTAGE SONGS, VINTAGE STYLE

Charlie Poole's North Carolina Ramblers were one of the greatest old time music bands ever. They were unique and because they tend to go against some of the current stereotypes about old time music spawned by people more interested in cashing in on the contra dance industry than on enjoying the traditions. With his guitar player Roy Harvey, and his fiddler Rorrer, Poole was the master of a tight knit sound that involved a high degree of musicianship. Some have called it the old time music equivalent of the string quartet. Some of the reproductions even those by the New Lost City Ramblers back in the 60s sound stiff compared with the real deal.

Poole played a very precise banjo roll style of finger picking that kept the rhythm, beneath him Mr. Harvey played guitar runs and finger rolls not that different from what Charlie played, while Rorrer played the melody rocking back and forth above them all. The approach was not like some of the string bands and their modern misinterpreters. It was pecise and tight and well practiced. It was hard to do right, but the NC Ramblers did it right.

Listen to Leaving Home. On this tune they all swing.
We have a very open and strong infusion of Rag Time and traces of Jazz here.
And they had fun. Listen to the words of Don't Let Your Deal Go Down, that Poole made into a standard, or Take A Drink on Me (recorded during Prohibition). There has been an attempt to cast Charlie as an old time hayseed who drank himself to death, but the facts are that Poole died after a celebration of an offer from Hollywood for him and the Ramblers go to California and appear in the new sound films. What a loss it is that such films were never made.

Charlie Poole was a wonderful performer - who innovated at the beginnings of string band music. It is a pleasure to listen to this collection. A great list of songs and nicely remastered. If you like groups like the New Lost City Ramblers - you will love this album.

If you love old time music this CD should be on top of your required list. Not a bad cut on this one.

With all the ardor of passionate love, John Hartford pays homage to the great fiddle player Ed Haley. By recreating for a new generation of listeners a style of music that not only demonstrates dexterity but is inherently enlivening, Hartford creates with this album (and his other late-in-life works WILD HOG IN THE RED BRUSH and HAMILTON BREAKDOWN) the surest cure for whatever blues may ail you. Hillbilly fiddle doesn't get any better than this.

As a compulsive collector of old-time fiddle CDs and tapes, I can say that this is maybe the most high-spirited and musically interesting CDs in the genre. This is Hartford at his loosest and best -- the instrumentation is full of surprises for players, and a really good introduction to those who dont know the music. i'm buying it for all my friends for christmas. Once I've paid that off, I'm going to quit my job and go play the fiddle by some river for the rest of my days. thanks, John.

There are great musicians, and there are great musicians who are also great artists. Mr. Hartford falls into the latter category. Perhaps one day, Mark O'Connor will call upon Mr. Hartford and ask for a lesson in artistry. I hope so.

This is a damn fine record to get your booty shakin while you putt about the house and take care of business. Fun music.

This is one of the weirdest furshluggin' albums you're ever likely to hear. From the terrifying, howling accapella cover of "John the Revelator" to the giddy "Hobo Train", this is thoroughly revisionist folk music. The boys of Rube dredge up old traditions, dust them off, then expose them to deadly radiation and twisted drugs, unleashing the mutant offspring to wreak havoc on their listeners' ears. If you can imagine a jug band with tablas and experimental, hand-built electronic instruments, you're on your way to understanding this mindboggling band. And if you dug Tom Waits' last few albums, you'll probably appreciate the deep-fried flavor and intense musical eccentricity of the album.

When I saw that Sousaphone I knew everything was going to be alright. And whoever said they need MORE songs about folk recently released from the SF County jail is WRONG.

This is one of the best singer/songwriter CDs I've heard in years, much less from someone unknown. I bought this after having it pitched to me, and I have loved it ever since. It takes a strongly imaginative writer to produce a song about love in a nursing home...who would even have thought about it? Leslie Smith writes about abuse, family, and heartbreak, but not so that you are left with a feeling of hopelessness. This is sometimes difficult, but beautifully rendered material. I'm looking forward to more from her.

Smith's music defies labels. Although she performs most of it solo, accompanied on acoustic guitar, it doesn't fit the folk or country or unplugged designations. There are echoes of the Celtic music, a tinge of bluegrass and a faint country twang. Smith's guitar and vocals were done live in the studio with no dubbing or production magic, which gives the songs an sense of immediacy.

The songs are profound, the lyrics alternately scathing and compassionate, and the music is exquisite. Smith's soaring vocals forcefully convey the powerful images expressed in the songs. From the potent social commentary of China Cups and Wednesday's 's Child to the touching Prayers Of Genevieve and Midnight Pirouette to the finely crafted allegory of Boat In A Bottle, the music is nothing less than terrific from beginning to end.

A friend lent me this and I've been playing it quite a lot. It's a real nice CD and well worth your time. A great piece of post-modern folk.

Aaron Copland is for me one of three of America's greatest composers of the 20th Century. Bernard Herrmann and Jerome Moross are the other two. Aaron Copland would have been 100 years old on November 14, 2000. In reflection I turn back to my first Copland album, "Copland's Greatest Hits." I was familiar as most people are with "Hoe Down" and that was the springboard for me. What attracted me was that distinctive "American" sound and "American" quality of the piece. This "American" sound is very present in Jerome Moross' score for the epic Western film, "The Big Country." One can also find similar influences in Bernard Herrmann's score for "The Kentuckian" and very much like Copland, Herrmann researched and interpolated regional folk songs and integrated them into his own unique style. Because I always liked film scores and also very much liked Copland's "Hoe Down" I always thought there had to be some connection with the musical approach. When I got this album and listened to "Appalachian Spring" for the first time I knew that I had discovered pure "Americana" and I have found that sound replicated in so many films. If you listen to the scores for "The Natural" or "Field of Dreams" or even recently to "Saving Private Ryan" this sound is present. This is a tribute to Copland and American music. Copland reinvented American music by giving it his unique structure. Copland's music is so simply melodic yet richly textured that it has an inherent sophistication that defines our nation. This is my favorite Copland album. That may be sentimental, but it helped me try to define a sound that I personally found moving and uplifting. I highly recommend this album of collected recordings. The recording of "Appalachian Spring" on this CD performed by the New York Philharmonic and conducted by Leonard Bernstein is my favorite recording of this piece to date.

I marvel at this CD every time I listen to it. This CD features Aaron Copland conducting the Boston Symphony in a performance of his own Appalachian Spring. There are many poignant hesitations and nuances in this performance. There is good reason why this piece has become synonymous with Americana -- listen to it, close your eyes and just let the images unfold.

This CD also contains Eugene Ormandy conducting the Philadelphia Philharmonic in the Billy the Kid Ballet Suite. It is a spectacular performance as well.

Every cut on this CD is very good. My personal favorites are "Appalacian Spring", and the "The Tender Land - Finale: The Promise of Living." I would recommend this CD to anyone who is a fan of Classical Music.

The Bear Family has really done it this time. I have several of their other female box sets like Connie Smith and Wanda Jackson but this outstanding set on the music of Anita Carter surpasses the rest. Why this lady was not the main female star of the 50's & 60's is a real mystry to most. Her real smooth and mellow Appalachian singing voice was better in my opinion then even Patsy Kline!
Where has all of these songs been stored over the years? Most folks who think "Ring of Fire" is the extent of this fine ladies achivements is in store for a rude awakening! My God,what a voice - after hearing the CDs in this great box set I think it is worth every penny that I paid for it (and it's not cheap).
The duets with Hank Snow are second to none and when her sister and mother (Maybelle)back her up on tunes like "I Dreamed I was there in Hillbilly Heaven", the results are downright scary!
Please keep in mind that this set is not for everybody. If your idea of Country Music is a naked Faith Hill rolling around under the sheets looking like a B-Girl singing God only knows what on some perverted music video then this set is not for you (that other kind of junk ain't part of nothing as the late Bill Monroe would say). This is real roots Country Music from one of the members of the first family of Country Music. The reproduction and remastered sound of this vintage collection is perfect.Boy could this girl sing and something that I will never understand is why collections like this can't be offered during the life of the Artist as they can see just how many folks are starving for their works. If Anita had not passed away at the young age of 66 who know what other recordings could have been made.
This set is a real keeper and again hats off to the Bear Family!

"Enjoy" JFKopeck

This box set is a major investment, but well worth it for any fan of great singing. The bell-like timbre and soaring range of Anita Carter's voice is unlike any other popular vocalist in the 20th century. So few people know about Anita Carter, but thanks to Bear Family records that will hopefully change. Now I hope that Bear Family will release all the sides cut by the Carter Sisters (Anita, June and Helen) and Mother Maybelle.

I was familiar with Anita Carter for years as part of the Carter Sisters group which use to tour with the Jonnny Cash Show but it wasnt until Bear Family released the single cd a few years ago that i had heard her solo recordings and the cd just blew me away! I was so glad when they released this box set of Anita's complete recordings. I just cant say enough about this woman's voice, she is without a doubt the greatest Female vocalist of all time, even though she never got the recognition or radio air play she deserved, all her fans know that what i say is true. She really was the best of the girl singers in country music and any other kind of music as well. I hope later on Bear Family releases a dvd of her live performances like the ones they have done of artist that were on Town Hall Party. I'm sure there are performances from the johnny cash concerts and the opry out there that were filmed years ago that could be put onto a dvd. Lets cross our fingers that a dvd is released.

The original trio's 20-track Chicago session for ARC in October, 1940. It was their first studio session since leaving Decca in June, 1938. This set is immeasurably better than their previous ARC output (1935) in that the songs are new to their recorded repertoire, and, even today, sound fresh. The recording quality is very good, and the remastering work of Nick Shaffan and Mark Wilder has made the sound clear and clean. The songs themselves span the range expected from a Carter Family session. There is the old folk song, Black Jack David ( often known as 'Black Jack Davy'), the traditional sounding 'Beautiful Isle O'er The Sea', with its tuneful collection of unrelated verses, and the western tinged 'Buddies in the Saddle', from the pen of Maybelle. Religious material is, as usual, well represented, and there is also an A.P. solo in 'I Found You Among The Roses'. This is a love song, given an almost innocent charm by A.P.'s faltering tones. I liked this one, and 'Little Poplar Log House On The Hill', with its catchy, immensely hummable tune. My favourite is 'Bear Creek Blues', which uses much the same tune as their 'Coal Miner's Blues', recorded for Decca in June, 1938. Maybelle's intricate guitar work is pure joy. This is a superb album, both for Carter fans, and for fans of great country music.

This music hits close to the heart of us who worked the soil and lived by the sweat of our brow. The messages are close to home. Harry Summers record collector from Lancaster, PA USA

I hear devout religion, hard work at low pay, and families gathering to keep close. In this big country, the ethnic name may be different, maybe the words aren't english, but it works. Country music forever!

I think every guitarist I knew bought this record - including me. Watson had been on several other records by this time including the legendary "Old Time Music at Clarence Ashley's" where he got his start, but had never sat down alone with a mic and a guitar before. This record turned him into a folk superstar.
The first time I saw Watson at Club 47 the room was crowded. That was before this record was released. The next time he played Cambridge they had to clear the place between sets as half the guitarists in the greater Boston area were lined up on Mount Auburn Street.
He has recorded a lot of albums since but the straightforward simplicity and his superbe musicianship has made this one an essential part of my collection for more than 40 years now. I don't think you can find a better Watson record. I own a lot of them and I haven't.

One Saturday Afternoon in 1964, I looked at the record bins in EJ Korvette's store in Hartford, CT and found this back when it was a new record. This is Doc Watson's first solo Album.

He had been recorded by folkways since 1961. This was all on folklore oriented recordings of Doc Watson with Clarence Ashley and various pickers from their home area on the borders of Tennessee and North Carolina, in the great Old Time Music at Clarence Ashleys which is now out in a nice two-CD set with more stuff on it than the original records. Then there was a great recording by folkways called The Watson Family, recording Doc, his wife Rosalee, his father in law the great old time fiddler Gaither Carlton, his brother and his mother and other relatives, but with Doc on most recordings. That recording is also one for everyone (Don't confuse it with the nice, but not nearly as good Vanguard CD of The Watson family at Newport).

This is Doc Watson's first album on his own. It also represents a decision he made to go out as a solo act, and not to continue performing as part of the Watson Ashley band or to join the New Lost City Ramblers in which he had been offered the spot of replacing Tom Paley.

This is a clear folk album. Of course, it has the great Black Mountain Rag which is a guitar masterpiece. It also has his Chet Atkins influenced Doc's Guitar. But the heart and sould of this recording is the old time songs. I was really taken by his harmonic solo Momma Blues and his banjo version of Doc Bogg's Country Blues. Then there was I'm Born about 6000 years ago, an old novelty pop song from the turn of the century that my grandfather used to sing in Hartford Connecticut.

There is sincerity, fun, and a real mastery of both voice and instrument. A nice album. Since all the various Vanguard collections only have selections, you really need this first CD if you want all the Doc Watson, or if you are me, just trying to keep bring what you discovered that afternoon in 1964

This album is a great introduction to Doc Watson, and has some of his most catchy songs. These are many of the songs he still plays live today, which can bring a tear to the eye when heard live.