There is no sophomore slump for husband-wife duo, Joey+Rory, though the album’s title song displays a tongue in cheek awareness that doesn’t take the possibility for granted. As it was with their first album, their second album is a hybrid of sounds in true, producer, Carl Jackson fashion. A mix of hard core country, bluegrass, folk, acoustic and even contemporary touches are all present, woven together to form a sonically crisp and organic feel. The main difference between the two albums is that Rory takes the lead once in awhile on this album, which was Joey’s sole responsibility last time out.
By now, we are all aware of Joey Martin’s and Rory Feek’s genuine love for each other. We see it in their public interactions and we hear it in their songs. As they share singing duties on “Born to Be Your Woman”, we hear a sweet love declaration between a husband and wife. They also express the value that they place on their relationship on the gentle, “That’s Important to me.”
Their love clearly doesn’t only exist in cerebral form, however, as they seem equally connected when they let loose and show their sense of humor as is evident in the title track, “God Help My Man”, “Baby, I’ll Come Back to You”, and “You Ain’t Right”.
“God Help My Man” starts out sounding as if it’s going to be another pretty love song, but we soon learn that Joey has no qualms about laying down the gauntlet when necessary, as she quietly, but bitingly, warns: “God Help my man if he’s fooling around/If he’s fooling around with some hussy he knows/While I’m rocking his babies and washing his clothes/If he thinks he can come home and climb into my bed/He’s got a fryin’ pan comin’ upside of his head.”
Also along the humorous track, the duo gives us one of the cleverest name dropping songs that there is. “Baby, I’ll Come Back to You” not only checks many country music names, but humorously references aspects of country artists that only country music fans might find amusing: “Now, I’m not sayin’ there’s no chance at all/But it don’t take no crystal ball/To see the chance is mighty slim,/Chris Gaines or me are comin’ back again.”
The album isn’t just love and games, however, as some of its most meaningful moments are quietly and effectively captured in the touching story song of “The Horse Nobody Could Ride”, the spiritual “Where Jesus Is”, and Rory’s intimate tribute to his father in the piano driven “My Ol’ Man that depicts a tough, but selfless and supportive father.
Measuring and identifying sincerity and authenticity is ultimately a subjective exercise, but if it’s ever at all tangible, Joey and Rory are the people who seem to effortlessly exude the traits in both life and song. As simply stated in “That’s Important to Me”, they explain: “Believing our dreams will take us somewhere/Still being ourselves if we ever get there/That’s important to me.”
As Dan observed in his single review of “Up on the Ridge”, there was a noticeable decline in Dierks Bentley’s music after his well received Long Trip Alone album. It is purely speculative to suggest, but one can’t help but wonder if Bentley himself felt staleness creeping into his music as well. It’s not farfetched for the idea to be true, since Dierks has proven himself to be an astute artist in the past. So, why wouldn’t he notice if there was, indeed, a shift?
Speculation aside, Bentley has taken a break from the routine of his last four albums to create an album that is far removed from what is popular on mainstream country radio and somewhat different than what he’s put on his own previous albums. However, he is still marketing to radio, as his first single, the title track, has been treated like any other Bentley single release. The album is not as adventurous, or as strong, as the Dixie Chicks’ unapologetically acoustic album, but it may be as close to the concept as we have gotten since their targeted mainstream acoustic project, Home.
It has been appropriately publicized that this album is not a pure bluegrass project. Instead, it is close in style to the bluegrass influenced tracks that Bentley has consistently included on each of his studio albums. Yes, mandolin, banjo, dobro and fiddle are ever present, but Bentley is not shy about using drums, exploring subversive melodies (“Up on the Ridge”, “Fallin’ for You”), or deviating from traditional bluegrass rules of engagement along the way. Moreover, Bentley does not possess the high lonesome tenor that is typically associated with bluegrass. He, however, proves himself to be a capable vocalist within the parameters of his unique style of it.
A handful of covers, songs by well respected songwriters, and some of Bentley’s own compositions makes this rootsy album a well rounded set. The best of the covers is bob Dylan’s “Senor (Tales of Yankee Power) and Kris Kristofferson’s Bottle to the Bottom”. While the otherwise solid “Bottle to the Bottom” features a somewhat pointless cameo by Kristofferson, the addition of the Punch Brothers on “Senor” is inspired art. A less successful cover is U2’s “Pride (in the Name of Love).” While Del McCoury’s distinctive tenor does well to do the heavy lifting, the over all recording still lacks the etherealness of the original. Ironically, as they are most closely associated with Americana, the Buddy Miller cover is the most mainstream friendly sounding song on the album. Unfortunately, it is also inferior to Miller’s version.
Among the strongest of Bentley’s songs is “Rovin’ Gambler” (once again, with the Punch Brothers), “Draw Me a Map” (featuring Alison Krauss on background vocals), “You’re Dead to Me” (co-written by and featuring Tim O’Brien”, and “Down in the Mine.”
Bentley wisely enlists the help of some of his creative friends such as the Punch Brothers (with Chris Thile of Nickel Creek fame), Del McCoury, Alison Krauss, Vince Gill, Jamey Johnson, Miranda Lambert, Tim O’Brien, and Kris Kristofferson. Complimented by Jon Randall’s organic production sensibilities, this impeccable support adds a welcome texture to the project. However, the collaborations work best when they are more subtle. For instance, while the prospect of Miranda Lambert and Jamey Johnson collaborating is, indeed, an appealing concept, the result does not rise to the occasion in practice. Both Lambert and Johnson deliver excellent performances with Bentley on “Bad Angel”, with Lambert’s voice being huskier than usual, but the parts together translate as more disjointed than natural. Likewise, the results of Del McCoury’s and Kris Kristofferson’s contributions were not as successful as one would hope for from such revered artists. On the other hand, the Punch Brothers (who played on several tracks), Alison Krauss, Tim O’Brien, Jon Randall, and Vince Gill (“Fiddlin’ Around”) were used less overtly to greater effect.
With expert musicianship by the best in the business, solid songs, and impressive vocal support, Up on the Ridge is a refreshing album from an artist who is taking a chance with this musical detour while still in the throes of a considerably lucrative career. Not only is taking such a chance commendable, Bentley has created a solid album to justify the diversion.
Oh, recreational blogging. One day, it’s as easy as finding a Waffle House exit on a Tennessee interstate. The next day, it’s like trying to digest what you ate there. You do your best, but you never really know when real life might start beckoning you and all your other writer buddies at once, leaving behind a skinnier website than any of you intended to keep.
Which is all good and well, of course; I certainly enjoy all my inadvertent time off, and I’m sure our more tasteful readers enjoy it, too. But Country Universe has always tried to stay on top of the album and singles markets, and in that regard, we’ve got a fair bit of catching up to do.
So that’s been our main focus for the last week or so, and we’ll keep at it until we’ve covered a good chunk of the pertinent material – or, you know, move onto a more awesome feature or something. We’ll keep updating this index post as we do so, so keep checking back!
I suppose this puts the “Natalie Maines dragged the other two Chicks away from their roots” theory to rest.
The debut album from Court Yard Hounds, the duo comprised of sisters Martie Maguire and Emily Robison, is an adult pop affair. This isn’t disappointing in its own right, being only a few degrees less country than the excellent Chicks album that preceded it, but what’s absent is both the urgency of that album’s material and Maines’ powerhouse delivery of it.
As on Taking the Long Way, the songwriting is done in-house, and the two sisters prove they are still quite adept with a pen. Some of the songs are as good as anything the Chicks have written or recorded. “Then Again” gets into the psyche of a self-destructive woman, while the stunning “Ain’t No Son” plays out like the prequel to “Top of the World”, with the narrator wreaking the havoc that he’d later rue upon his death.
But the album is hampered by playing down their strengths in favor of their weaknesses. Where Maguire and Robison have always shined is on their instruments, and there simply isn’t much of a showcase of their virtuoso talents. Long Way proved that they can stretch beyond their country and bluegrass roots, with the fierce fiddle on “Lubbock or Leave It” bordering on punk. There’s no such adventuring here.
This wouldn’t matter as much if they were able to compensate at the mic, but they make the strange choice of downplaying their sisterly harmonies for a warmed-over variation of post-Globe Sessions Sheryl Crow. The songwriting is strong enough to make this an interesting listen, with genuine gems like “See You in the Spring”, “Gracefully”, and “It Didn’t Make a Sound”, and I’d love to see them do these songs in a live setting that’s less restrained. But as it is, Court Yard Hounds plays more like a collection of lost demos than a cohesive album in its own right.
Dixie Chicks Playlist: The Very Best of Dixie Chicks
For those of us who were living and breathing country fans from 1998 to 2006, the idea of a Dixie Chicks compilation is unnecessary. Some of us have all four albums and listen to them in different proportions, while a fairly large part of their audience haven’t bothered with them since 2003.
But Playlist, the first compilation of the Natalie Maines-helmed era of the band, is the only career-spanning introduction for those who may be discovering them for the first time. Don’t let its existence as part of an established budget line fool you, either. The twelve tracks found on this collection were picked by the Chicks themselves, not a record executive or chart history buff.
All four of the Chicks albums are critically acclaimed and were commercially successful. Heck, all four of them won the Grammy for Best Country Album to boot. So my instinct is to call this the best case for just buying the original albums since the first Emmylou Harris hits set. But I say this as someone who would reflexively tell listeners to buy Home and Taking the Long Way first, and I know of several country music fans and journalists who would swap out one or both of those titles in favor of Wide Open Spaces and Fly.
So the beauty of this set is that it picks a handful of tracks from each album that are truly representative of each set. The Chicks made four very different albums. Wide Open Spaces, a debut set that seemed bold at the time but is almost quaint in its conventionalism today, is represented by the title track and “You Were Mine”, two #1 hits that are easily the strongest of the five singles from that album.
The selections from Fly are where things get interesting. That album produced seven top twenty hits, but only one of them is here: the #1 hit “Cowboy Take Me Away.” While a case could be made for including “Goodbye Earl” as well, the set is stronger for including their tender cover of Patty Griffin’s “Let Him Fly” and the fearless “Sin Wagon”, which is the best pre-Home showcase of Martie Maguire and Emily Robison’s jaw-dropping instrumental prowess.
Home is their best album to date, and while I miss the absent “Travelin’ Soldier” and “Top of the World”, the inclusion of Griffin’s “Truth No. 2″ alongside smash hits “Long Time Gone” and “Landslide” is fair compensation. And while Taking the Long Way produced only one big hit, “Not Ready to Make Nice”, it is joined by three more great autobiographical hits that should’ve been: “The Long Way Around”, “Easy Silence”, and “Lubbock or Leave It.”
Is it a perfect collection? No. But it’s close enough, and a much better reflection of the band’s best work than a traditional hits collection could ever be. If you’re looking for a strong introduction to the most talented and successful country band of the past 25 years, this is the place to start.
It’s not a hard and fast rule, but oftentimes, the most intriguing albums come from extreme adversity. Such is the case for Chely Wright, whose finest project to date is her latest album, Lifted off the Ground, which comes from a long period of deep depression and subsequent painful self-examination of where she fits in the world. Masterfully produced by Rodney Crowell, the album is mostly a reflection of Wright’s darkest times of tumult, which naturally results in an album of varied emotions.
To set the tone for the project, the album opens with the slow-burning “Broken”, a resignation of lovers who can’t open themselves up enough to let the other person in. “Damn Liar” is an aggressive condemnation to, you guessed it, a no-good liar, while “Like Me” wistfully (and possibly controversially) contemplates the future of a close friend, “Who’s gonna end up holding your hand? / A beautiful woman or a tall, handsome man?” The most clever song on a very solid album, however, is the quirky “Notes to the Coroner”, wherein the protagonist points to her in-depth diary as her notes to the coroner on what caused her death, which simply happens to be a broken heart.
It’s not mainstream country music like she once did, but rather, more folk-tinged with a bit of tasteful pop influence sprinkled throughout, which will likely feel more comfortable with the Americana crowd. As a result, Rodney Crowell’s sympathetic production expertly supports Wright’s clear voice with a crisp, yet soft, foundation. Moreover, by pouring her heart and unfiltered thoughts into this album, we are treated to an introspective collection of songs with unique and accessible melodies and, more importantly, intelligent insights.
There has been a fair amount of positive hype surrounding newcomer, Easton Corbin, as of late. He has been lauded as the next George Strait (not that George Strait is going anywhere quite yet, by the way!). Since he isn’t afraid to prominently feature the steel guitar on his self-titled debut record, such comparison is natural if not justified, though Corbin’s voice is not yet as strong as Strait’s.
Country radio is still playing some neotraditional artists in the vein of George Strait, Alan Jackson, Joe Nichols and Josh Turner, but Corbin is somewhat of an anomaly in the largely pop-leaning mainstream country music landscape. As a result, being a proponent of traditionalism, it is admittedly tempting to give him special deference for embracing a sound that is not prevalent on radio right now. His album, however, is a product of mixed results that does not quite live up to the hype, but is a solid debut effort nonetheless.
From songs like the lead single, “I’m A Little More Country Than That” (an indirect proposal song), which celebrates country life by comparing himself to decidedly country elements, to “Roll with It” and “That’ll Make You Wanna Drink”, Corbin makes it clear that he is a man who embraces the simple kind of life, which he emotionally equates to being a country boy. Incidentally, these songs are among the weaker tracks on the album.
Alongside the innocuous swagger, Corbin intersperses songs that explores relationships in the simplest terms. Stereotypes about old people abound in “Someday When I’m Old”, but the song still maintains a tangible sweetness. Additionally, “Don’t Ask Me About a Woman” is a predictable characterization of how confusing women are, though with an amusing line that says, “Boy, I’ve lived nearly eighty years/a lot of know-how between these ears/But when it comes to your grandma, /I’m still your age.”
The most infectious melody on the album is the Caribbean flavored “A Lot to Learn About Livin’” with the dullest song, both in melody and content, being “Let Alone You.” As a counterpoint, one of the strongest songs is the final track, “Leavin’ a Lonely Town”, which follows the protagonist as he is on his way out of a town that he has apparently outgrown.
In many ways, Easton Corbin hearkens back to the neo-traditional movement of the Class of ’89. The simple melodies are encased in the sonic appeal of fiddles, steel and acoustic guitars, and prominent, though not overpowering, drums. Moreover, Corbin exudes a relaxed sincerity that is often overshadowed by loudness and overdone melodies on country records these days. The song selection, however, is a step below the debut efforts of the ’89 Class like Garth Brooks, Alan Jackson or Clint Black.
While Corbin’s voice is surprisingly indistinctive, it is pleasant and melds rather nicely with his choice of structurally simplistic songs. Much like his voice, however, none of the melodies or lyrics on this album are particularly memorable, though inoffensive they may be. Nevertheless, the potential for this newcomer is tangible and future growth is extremely likely. So, it would be wise for us to keep an anticipatory ear out for Easton Corbin’s future endeavors.
World: meet Underwood. She’s fiercely compassionate and endearingly idealistic (the riveting “Change”). She holds her beliefs with a firm but quiet conviction (“Temporary Home”). She’s as comfortable and convincing at tearing down a wrong-doer (the Dixie Chicks-esque “Songs Like This”) as she is nursing an irreparable heartache, whether it’s in the form of a haunting country standard (“Someday When I Stop Loving You”) or a rich pop ballad (“What Can I Say?”). And she’s one of the most gifted vocalists of this generation, possessing an instrument that, when colored and layered with emotion as she’s aptly learned to do on Play On, can have bone-chilling effects.
Like it or leave it, Play On is the most authentic encapsulation of Underwood’s artistry and persona to date, and serves as an exciting glimpse at how far a little growth can carry her. The best is yet to come, but in the meantime, the “good” is pretty damn good. – Tara Seetharam
#9 Sara Watkins Sara Watkins
As most people know by now, Sara Watkins is the female member of the now-disbanded (hopefully temporarily) New Grass trio, Nickel Creek. While Nickel Creek was difficult to classify in a certain genre (not bluegrass, not country), they were embraced by bluegrass and country music fans alike. Each member of the popular trio has released intriguing projects outside of Nickel Creek, but Watkins’ album has assumed the most decidedly country direction of them all. As a result, we are treated to a sublime album thanks to Watkins’ sweet voice and a set of impressively solid songs. – Leeann Ward (more…)
A tense uncertainty hung over 2009, as the world waited to see what would become of a new American president, an economy in crisis, and a full deck of divisive social issues.
Popular music tends to respond to such charged societal circumstances in one of two ways: by confronting the issues and their ramifications head-on, or by cranking up the escapism to drown it all out for a bit. 2009 leaned heavily on the latter course, as the thumping sex-pop of Lady GaGa and the fluttery boy-centrism of Taylor Swift dominated the airwaves and the registers, offering listeners a chance to believe, if only for a few passing moments, that the world was as simple as a ride on a “disco stick” or the defeat of an evil cheer captain.
The tensions were certainly felt in country music, whose mainstream attempted to rally its casual fans against all the fallout by drumming up endless brain-optional reassurances of hometown value, God and gender identity, mostly with the volume at an attention-forcing 11 and the lyrical shrewdness averaging about 3. It made for a remarkably accessible year for that mainstream, but one which fewer fans ultimately cared much about, neutered as it was by its attempts to appease – rather than inspire – the mass public.
But let’s be positive: there were exceptions. For all its white lies and willful ignorances, country music in 2009 still told a great deal of truth. For all the loudness and brashness, the actual chart smashes – “Then”, “You Belong with Me”, “Big Green Tractor”, “Need You Now”, “Consider Me Gone” – were mostly non-exclamatory songs, songs that reflect a cherishing of simple, core ideals: Stability. Support. Romance. Appreciation. And of course, the alternative and independent artists hidden under country’s big tree continued to flourish in their own way, protected by the stability of the music’s thick roots and a less-tainted appreciation for its craft. Kinda like in the first two thirds of Avatar.
The countdown beginning below – our final country music retrospective of the past year and decade – contains albums from every spot on that big tree, from superstars squatting on the apples up top to upstart little sprouts on the middle branches to the legends holding down the withered bark at the base. It has been compiled by combination of equally weighed top-ten lists by Kevin, Leeann, William, Tara and myself, and features commentary from all five of us. Part 2 will come tomorrow, along with our individual singles and albums data. As always, we hope you enjoy the countdown and invite you to share your own top albums in the comments, along with any thoughts you may have as we close the book on 2009, if not on all the issues it brought forth.
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#20 One to the Heart, One to the Head Gretchen Peters & Tom Russell
Gretchen Peters is best-known as a singer-songwriter, and a successful one at that, having penned the CMA. Song Of The Year “Independence Day” in 1994 and scored a top five hit when Faith Hill recorded her song, “The Secret of Life” in 1999. It is surprising then that, with her seventh album, One to the Heart, One to the Head, she and Tom Russell would release an album consisting almost completely of covers. Reminiscent of Willie Nelson’s penchant for relaxed delivery, One to the Heart, One to the Head flows with subtle emotion and western imagery. – William Ward (more…)
“the night was freezing cold, from a heavy snow that day, we warmed our hearts on old time songs and danced the night away” — Gordy/Loveless
Back in 2001, Patty Loveless made a wondrous, rustic and rootsy album called Mountain Soul, a stunningly beautiful and highly acclaimed work of art. Mountain Soul was a natural evolution for the coal miner’s daughter Loveless, who has always been known for the passionate mountain sound that she brings to her award winning Country repertoire. Mountain Soul is potential realized, a bountiful harvest that Loveless continues to cultivate to this day, her current masterwork Mountain Soul II being her most recent offering.
Patty’s immediate and worthy follow up to the original Mountain Soul is entitled Bluegrass & White Snow, a Mountain Christmas With it’s stripped down yet sophisticated feel, this 2002 release has the quality and the character that entitles it to be called ” the Mountain Soul of Christmas records,”, It is that good.
Bluegrass & White Snow is an inspired, joyous and reverent labor-of-love from Patty Loveless and husband/producer (and genuine musical genius) Emory Gordy Jr. It seems that every project this talented couple undertakes is done with the golden touch of artistry and creative good taste, and their mountain Christmas record is no exception. What has made this classic a perennial favorite is the natural blending of two wonderful musical traditions, the organic feel of it’s acoustic production, and the warm and expressive voice of the finest pure-Country vocalist of our time.
Bluegrass & White Snow is an enchanting mix of Christmas Bluegrass and beloved traditional carols. This album has a warm and personal feel to it and rings with Appalachian authenticity. No surprise, since the Kentucky native invests so much of herself into the music with three autobiographical songs, and an open reverence for her family’s Christmas traditions and Mountain heritage.
The album opens with the Christmas lullabies “Away in the Manger”, and “Silent Night”. and Loveless gracefully covers such traditional carols such as “Joy to the World”, “The First Noel”, and “O Little Town of Bethlehem”. Her Appalachian alto is accompanied by ubiquitous mandolin, fiddle and guitar infusing a rustic flavor and giving these beloved carols an earthy yet elegant feel throughout.
The artistry of any Loveless/Gordy record often extends even to the album cover and Bluegrass & White Snow is one of the best examples. Here Patty “walks in beauty like the night” wearing the woolen coat-of-glory metaphorically alluded to in the original Mountain Soul. She looks every bit the Appalachian archangel in humble disguise, down from the mountain like a dream. She walks upon a cloudlike snow bank, an understated vision in royal blue and misty white.
Combine this with the clever title and the descriptive subtitle; it all conjures up scenes of mountain hospitality and beckons to the warmth of the music that is offered within. There, the listener will encounter Patty and Emory and their Holiday guests. A distinguished circle of musical friends that includes the finest talents in Country and Bluegrass music. Folks like Dolly Parton, Ricky Skaggs, Emmylou Harris, Trisha Yearwood, Vince Gill and Amy Grant. And the listener is embraced by this fine company in true Christmas spirit and is made to feel welcome and never left out in the cold.
All throughout, Patty’s vocals ring with pure silver clarity and warm golden tones. Her soulful voice sometimes seems to resonate in celestial dimensions and always conveys uncanny depths of emotion. “Joy to the World” is a beautiful example. It is a majestic Patty Loveless-Jon Randall duet and is the first of several carols to employ some creative musical accents; subtle wind chimes and wine glasses that seem to ring with Patty’s voice in resonant harmony like Heavenly tuning forks. They infuse the middle tracks of this extraordinary album with extra doses of Holiday enchantment.
“Carol of the Bells” softly descends upon the musical landscape like a surprise overnight snowfall, courtesy of the Nashville Mandolin Ensemble. It is an instrumental interlude saturated with mandolins that mimic harpsichords for a real old-fashioned feel. The subtle eerie overtones are from the wine glasses ringing with delicate magic, like crystal elvin bells. The whole piece gracefully turns into an extended instrumental introduction that Loveless uses as a springboard for her spellbinding rendition of “The First Noel”. With exquisite harmony provided by Trisha Yearwood and Claire Lynch, the three sound like a trio of down-to-earth angels singing their hearts out to the Heavens.
“Little Drummer Boy” is an inspired change of pace from the usual Christmas repertoire, and works brilliantly. Patty joins forces with a fellow Kentuckian and gifted young vocalist Rebecca Lynn Howard in a wonderful duet that blends two glorious voices in parallel melodic lines. The exquisitely interpreted lyrics conveys the song’s comforting sentiment that the Deity graciously accepts all heartfelt gifts, be they ever so humble:“I have no gift to bring par rum pum pum pum, that’s fit to give a king…shall I play for you pa rum pum pum pum, on my drum?” Patty graciously shares the spotlight, and allows Miss Howard to shine. Howard’s clarity and Loveless’ warmth make for the perfect vocal blend. And in a departure from strict Applachian convention, a lonely recorder hovers over the musical proceedings like a dove, It is a brilliant innovation, and a musical benediction.
“Christmas Time’s A Comin’” heralds not only the Holiday, but also the Bluegrass section of this wonderful album. It begins with Patty setting the rhythm on sleigh bells, and Emory joining in with compelling acoustic guitar hooks. Then all Bluegrass Heaven breaks loose as Patty and friends run with the melody and twin fiddles fly. They all conjure up images of home for the holidays, Country style.
“Santa Train” is the first of three songs written by the Loveless-Gordy team, and once again, they demonstrate their talent as first rate songwriters. Their originals fit seamlessly along with the more established and traditional songs on this album.
The actual Santa Train runs from Pikeville KY, ( Patty’s birthplace,) to Kingsport, TN and provides Christmas gifts to Appalachian children in need. And if it sounds like Patty is singing from experience, it is because she’s been there. She saw Santa wave to her from the back of the train when she was a mere 6 years old, and as an adult has joined Santa as a volunteer spreader of Christmas cheer three times now, in ’99, ’02 and ’07. Indeed, with this musical version of the Santa Train, Patty has given children yet another gift and awakened the inner child within us all. “Santa Train” chugs along with plenty of fiddle and perfectly evokes train rhythms, Bluegrass style. There’s even a real train whistle played by Patty herself, and she sings out the stops like a conductor, calling out storybook sounding names like Shelbiana, Dungannon, Copper Creek, and Cady Junction. But make no mistake, this song, like “Christmas Day at My House” is fine Bluegrass
music. The quality of the songs themselves and the virtuosity of the vocal and instrumental performances raise both these child-friendly songs far above novelty status.
The album closes with soaring festive harmonies, as Loveless is joined by Dolly Parton and Ricky Skaggs for the album’s closer. The song “Bluegrass, White Snow” like the album that bears it’s name, is absolutely saturated with Appalachian hospitality.
Patty Loveless and her musical companions make a compelling case that Christmas music is meant for Appalachian acoustics and soaring mountain harmonies. And Loveless herself continues to demonstrate that there is nothing more powerful than a gifted artist deeply connected to her roots singing from the depths of her being.
By any standard, Bluegrass& White Snow is a fantastic record. The few rough edges that are present only serve to enhance the authentic feel of the album even further. Christmas music is just great music to begin with, and this is a Christmas album with a mountain soul. The exceptional quality and Appalachian flavor of this record makes it entirely suitable for year round enjoyment, in and out “of season”.
Loveless and friends celebrate the essence of Christmas giving; the gift of God’s grace and the gift of music. And as always Patty Loveless and Emory Gordy Jr. continue to give their all. This is their Christmas gift to the music world. Make it part of your tradition and you are bound to experience this sonic wonder as a musical benediction. As is so often the case with Patty and Emory’s work, their music will leave you spiritually and emotionally enriched, nourished and blessed.
Bluegrass & White Snow is truly the “Mountain Soul” of Christmas albums, the finest of its kind.