Tag Archives: Rural Rhythm

Michael Martin Murphey: Buckaroo Blue Grass

michaelmartinmurphey_buckaroobluegrassCountry-folk rides onto bluegrass

Michael Martin Murphey is forever lodged in the memories of pop fans for his 1975 hit “Wildfire.” And those who checked the credits of the Monkees’ Pisces, Aquarius, Capicorn & Jones Ltd. would have found him as the writer of the Mike Nesmith-sung “What Am I Doing Hangin’ ‘Round.” In contrast to this brief flirtation with the pop charts, Murphey’s career, before and after “Wildfire,” has been extensive. He co-founded the Lewis & Clark Expedition, recorded an album for the same Colgems label that produced the Monkees, and supplied songs to Flatt & Scruggs, Bobbie Gentry, and Kenny Rogers. He recorded a string of country-rock albums throughout the ‘70s, and after peaking with “Wildfire,” returned with “Carolina in the Pines.”

Murphey’s success on the country charts took off in the ‘80s, stoked in part by re-recordings of his earlier works. “Carolina in the Pines,” originally a modest hit in 1976, became a full-fledged country top-10 with a 1985 reworking. As the ‘80s waned, so did Murphey’s country chart success, and in 1990 he waxed Cowboy Songs, the first of several albums mixing Western standards with original contributions to the canon. On 2001’s Playing Favorites he took yet another pass at “Wildfire” and “Carolina in the Pines,” setting in place a pattern of reinterpreting fan favorites. This time out, Murphey sets two new tunes (“Lone Cowboy” and “Close to the Land”) and nine earlier works to acoustic bluegrass arrangements, once again discovering new layers in the fan favorites.

Thirty years after his first pass at “Carolina in the Pines,” Murphey’s voice adds an appealing edge. Dropping the ‘70s drums and guitars leaves the banjo, guitar, bass and fiddle to create an earthier mood. The same is true for “Cherokee Fiddle,” whose 1976 original was turned into a hit for Johnny Lee on the Urban Cowboy soundtrack; as reworked here it’s a twangy concoction of fiddle, guitar, mandolin and banjo. Murphey reaches all the way back to 1972 for “Boy from the Country,” adding a fiddle and mandolin to the original singer-songwriter arragnement.

Others have taken Murphey’s songs for a bluegrass spin, such as Dwight McCall’s recent take on “Lost River,” but it’s a joy to hear Murphey cut his own mountain groove through the song with Rhonda Vincent singing harmony. His new version of “What Am I Doing Hanging Around,” written from life at the age of 19, is now a terrifically nostalgic memory at age 63. Murphey’s fans already know what a treat it is to hear him add perspective to his catalog, and those who lost track after “Wildfire” will find this a terrific reintroduction. [©2009 hyperbolium dot com]

Listen to Buckaroo Blue Grass
Michael Martin Murphey’s Home Page

Audie Blaylock and Redline: Audie Blaylock and Redline

audieblaylock_redlineStellar album of hard-charging bluegrass

Not being a bluegrass aficionado, I always find myself cataloging the quintessential elements in my head: banjo, check; fiddle, check; mandolin, acoustic bass, and guitar, check, check and check; high-tight harmonies, ballads and hot-picking, check, check and check. And it’s right about that last check that I start to get the feel of a bluegrass record, sinking into its joys and loneliness, sensing the country roots beneath the Kabuki-like constrictions laid down by the genre’s founders. The checklist comes to life with harmonies squeezing out tears and musicianship advancing from a display of expertise to an emotional outpouring. And so it was with Blaylock’s second album as a group leader, his first release for Rural Rhythm.

Blaylock’s played with Jimmy Martin and Rhonda Vincent, is a four-time nominee for IBMA guitar player of the year award, and an IBMA instrumental group award winner with Michael Cleveland and Flamekeeper. His band is a quartet of young hotshots who dazzle listeners with their instrumental prowess and surround Blaylock with old-soul harmony singing. Though the group can sing traditional high-low duets, it’s the four-part harmonies, such as the a cappella gospel “Who’ll Sing For Me?” that really show what they can do. Blaylock’s selected songs from country, gospel and bluegrass, emphasizing up-tempo fiddle and banjo tunes, but providing balance with ballads and mid-tempo waltzes. The band’s high-energy tunes are sure-fire festival favorites, but it’s the ballads you’ll savor.

Blaylock opens Lester Flatt’s tearful “My Darling’s Last Goodbye” with a plaintive solo vocal before finding comforting harmony on the chorus, and the call-and-response of Jimmy Martin’s “Goodbye” provides the warmest of send-offs to the hereafter. Better yet are the rich harmonies that underline the wishful memories of Roy Acuff’s “My Blue Eyed Darling.” The album’s upbeat tunes harbor dark tales of cheating lovers, estranged affection, suicidal thoughts and death, and are sweetened with chipper harmonies and energized picking. Blaylock’s a fine vocalist with ears that are superbly tuned for both fetching material and extremely talented accompanists. [©2009 hyperbolium dot com]

Listen to Audie Blaylock and Redline

Melonie Cannon: And the Wheels Turn

Acoustic country and bluegrass harmonies

For her sophomore release, Melonie Cannon moves from Skaggs’ Family to Rural Rhythm, but brings along both her bewitching alto vocals and the combination of bluegrass and country that balanced her debut. Cannon’s vocals are heavily indebted to the fragile purity of Alison Krauss, but also informed by earlier vocal stars such as Vern Gosdin and modern day stars like Chely Wright and Jo Dee Messina. She opens her latest with the pained adult memories of a drug-addicted prostitute’s abandoned daughter and the struggle to find – a bit edgier than your typical Nashville fare. The search for deliverance turns spiritual on “Send a Little Love,” but the specific situation from which salvation is sought is left to the listener’s imagination. The country-gospel original “Mary Magdalene (Why You Cryin)” sounds as if it were plucked from the Staple Singers songbook, though the acoustic guitar isn’t drenched in Pop Staples’ famous reverb.

Cannon writes and sings of troubled relationships, including the difficulty of cutting off a poorly matched mate on “I Call it Gone,” the exhaustion that leads to leaving on “I Just Don’t Have it in Me,” the late-night longing of “Dark Shadows” and the freedom of letting the past go on “I’ve Seen Enough of What’s Before You.” More happily, she finds herself awe-struck by the transformational meeting of her soulmate on “The Day Before You.” Cannon’s voice cuts through the studio with the clarity of a live performance, adding a personal presence to the autobiographical “It’s All Right There.” She visits her father Buddy Cannon’s songbook with a sweet cover of Vern Gosdin’s “Set ‘em Up Joe,” and trades verses with Willie Nelson on his “Back to Earth.” The disc ends with an acoustic tale of infidelity that turns the table on a cheating trucker and provides a fine, final helping of close harmony. [©2008 hyperbolium dot com]

Listen to “I Call It Gone”
Melonie Cannon’s Home Page
Rural Rhythm’s Home Page