My Kind of Country

Country music from a fan's point of view since 2008

Tag Archives: Rhonda Vincent

Classic Rewind – Rhonda Vincent covers Connie Smith’s “Once A Day”

Album Review: Rhonda Vincent – ‘The Storm Still Rages’

A year and a half after her triumphant return to bluegrass, Rhonda Vincent did the unthinkable and released an album that was actually better than 2000’s excellent Back Home Again. Like its predecessor, it is a collection of contemporary and traditional bluegrass songs, along with a handful of covers of country classics with acoustic arrangements. Slightly more traditional than Back Home Again, The Storm Still Rages was self-produced. Ronnie Light, who shared production duties on Back Home Again, acts as engineer this time around. Rhonda’s brother Darrin is once again in tow, playing bass and singing harmony. Also present are some of Nashville’s most prestigious musicians, including Stuart Duncan on fiddle, and Sonya Issacs and Alison Krauss whose harmonies are what really give this album an edge over Back Home Again.

By 2001, bluegrass was on a hot streak and the rising tide that lifted albums by Alison Krauss and the O, Brother Where Art Thou soundtrack to the top of the charts also benefited Rhonda, who had an album on the charts herself for the very first time. The Storm Still Rages reached #59 on Billboard’s Top Country Albums chart and #9 on their Top Bluegrass Albums chart.

In addition to her roles as lead singer, mandolin player and producer, Rhonda is also credited as a songwriter, having had a hand in creating three of the album’s songs — the opening track “Cry of the Whippoorwill” and “On Solid Ground”, which she co-wrote with Terry Herd, and “When The Angels Sing” which she co-wrote with Herd and her brother Darrin.

One of the album’s standout tracks is “Is The Grass Any Bluer”, which is a tribute to the late Bill Monroe. Addressing the father of bluegrass directly, Vincent asks:

Is the grass any bluer on the other side?
Did it look like old Kentucky when the gates swung open wide?
Bet the good Lord’s got you playin’ somewhere up there every night.
Is the grass any bluer on the other side?

Rhonda also pays tribute to Lester Flatt with the album’s closing track “The Martha White Theme”.

My favorite song on the album is “Don’t Lie”, which had been a single for Trace Adkins two years earlier and ranks among his most underrated recordings. Rhonda’s version was also released as a single but it did not chart. The album produced two more non-charting singles, “I’m Not Over You” and a cover of the Hank Williams classic “My Sweet Love Ain’t Around”. Also among the country classics Rhonda covers is a version of the Jack Clement tune “Just Someone I Used To Know”, which was originally recorded by George Jones and is best remembered as a hit for Porter Wagoner and Dolly Parton. Rhonda’s version reminds me of the version Lee Ann Womack would record a few years later for her There’s More Where That Came From album.

Two gospel tunes are included in the set, the aforementioned “When Angels Sing” and “If You Don’t Love Your Neighbor You Don’t Love God”, a rousing toe-tapper that is probably the best known of Rhonda’s religious tunes.

The Storm Still Rages is one of those rare albums without a single misstep; the singing, playing, production and the songs themselves are all top-notch. Even if you think you don’t like bluegrass, give this one a listen and you may find that you’ve changed your mind.

Grade: A+

Classic Rewind: Rhonda Vincent – ‘You Beat All I’ve Ever Seen/Trouble Free’

Album Review: Rhonda Vincent – ‘Back Home Again’

Although Rhonda Vincent’s pursuit of a mainstream career resulted in only two albums, it took her away from the bluegrass scene for nearly a decade. With the major label phase of her career now over, Rhonda returned to the indies and began a decade-long association with the roots-based Rounder Records. The aptly named Back Home Again, released in January 2000 was her first project for the label. It was an exciting time in bluegrass, as the genre was enjoying somewhat of a commercial resurgence. Dolly Parton had released the first album of her bluegrass trilogy a few months earlier, and the following year the O Brother, Where Art Thou soundtrack would be named Album of the Year by the CMA.

Back Home Again was produced by Rhonda with Ronnie Light. In addition to singing lead vocals, Rhonda also played guitar and mandolin on several tracks and was also joined by her brother Darrin who sang harmony. Many of Nashville’s finest musicians, including Jerry Douglas on dobro and Glen Duncan on fiddle, also participated in the project.

Rhonda and Darrin’s vocals soar on the opening, banjo-led track “Lonesome Wind Blues”, a cover of a Bill Monroe classic. Equally good are their take on Jimmy Martin’s “Pretending I Don’t Care”, and “Out of Hand”, a cover of a Louvin Brothers song on which Rhonda and Darrin are joined by their father Johnny Vincent. “Passing of the Train” is an updated version of a song that Rhonda had included on her first mainstream album, Written In The Stars.

Like most of Rhonda’s albums, not everything on Back Home Again is strictly bluegrass; three contemporary country songs are given bluegrass arrangements, with stunning results. “When I Close My Eyes”, my favorite track on the album, is far superior to Kenny Chesney’s 1996 original and Rhonda’s take on “You Don’t Know How Lucky You Are” is equal to Patty Loveless’ 1993 recording. And after hearing Rhonda sing Dolly Parton’s “Jolene”, it’s somewhat surprising that Dolly herself never did a bluegrass version of the song. I’d never thought of it as a bluegrass tune, but it works extremely well with an acoustic arrangement and soaring harmonies on the song’s chorus.

The album’s only misstep is “Little Angels”, a song sung from the point of view of a child sexual abuse survivor. The tune is pretty and it is well sung and played, but it all sounds a little too pleasant for a song about such a weighty and uncomfortable topic, and as such, it doesn’t quite work.

While it’s regrettable that Rhonda didn’t enjoy the commercial success she deserved in mainstream country, after listening to Back Home Again, one can’t help but think that perhaps things worked out for the best, as bluegrass is where she truly belongs. Some mainstream country fans are resistant to bluegrass, but there is much to like in this collection, so it’s well worth keeping an open mind and giving it a try.

Grade: A

Classic Rewind: Rhonda Vincent – ‘This Heart Of Mine Can Never Say Goodbye’

Album Review: Rhonda Vincent – ‘Sunday Mornin’ Singin’ Live’

Since her decision to leave the confines of even a sympathetic label like Rounder, Rhonda Vincent seems to have discovered a new freedom to record as she wishes.  The first album she released on her own label was the conventional (and very good) Taken, but her follow-up was her excellent country duet project with the great Gene Watson.  Third time around, Rhonda has decided to go back home to record her first live gospel album.  She has produced an acclaimed live album in the past, and she has always mixed in religious material alongside the secular, as well as releasing a gospel album when she was working with her parents’ family group, the Sally Mountain Band.  This is her first combination of the two, and to do so she chose to record the tracks live at Rhonda’s home church, Greentop United Methodist, in Greentop, Missouri.  It is not precisely a concert performance, as I gather breaks were taken between tracks.  The church has very clean acoustics; indeed this sounds like a studio set with occasional polite applause.  Rhonda is in predictably excellent voice, and The Rage play and harmonise impeccably throughout.  The production and arrangements are all meticulous, thanks to Rhonda and her fiddle player and son-in-law Hunter Berry.  Some of the material is familiar, having been picked out by Rhonda from some of her past recordings

There is a bit of a slow start, with the nicely done but unexciting opener, a revival of ‘I Feel Closer To Heaven Everyday’ which she sang as a youngster with her family’s Sally Mountain Band.  A sensitive vocal then brings life to ‘Blue Sky Cathedral’, a pretty story song about an elderly relative feeling closer to God in the midst of the beauties of nature than in church.

Rhonda wrote the slow wailing acapella ‘His Promised Land’ (with Lisa Shaffer), but although I liked the swooping melody reminiscent of an 18th century hymn tune, unfortunately I didn’t care for the droning harmonies.  ‘Fishers Of Men’, another acapella number later in the set, has a more engaging arrangement, and this version seems to have more vibrancy than her earlier cut of it, on 2003’s One Step Ahead. The pure bluegrass ‘Where We’ll Never Say Farewell’, an older song written by Larry and Eva Sparks, picks up the mood and tempo, with some great instrumental breaks and a committed vocal.

‘Silent Partner’ (written by Jeff Barbra and Darrell Webb) is also excellent; the partner is, of course, Jesus, and the lyric engagingly applies the metaphor of business life:

Now I’ve found my calling
I’m working for the Man
The pay is so much better
With the great life insurance plan

Me and my silent partner
We’re always side by side
He helps me run this business that I call life
He is the best advisor
And I can reach him any time
Me and my silent partner Jesus Christ

Turning to the hymn book, ‘Just As I Am’ gets a tasteful, rather subdued reading with soothing close harmonies.  Rhonda’s heartfelt version of ‘The Old Rugged Cross’ is beautifully sung.  ‘Walking My Lord (Up Calvary’s Hill)’ is more upbeat musically despite the subject matter, and is sung partly as a tribute to Wilma Lee Cooper.

The charming ‘God Put A Rainbow In the Clouds’ (an old Johnnie & Jack number) features vocals from Rhonda’s band members, and is just great fun.  The joyful narrative of the Old Testament story of ‘Joshua’ also features prominent vocals from the guys, and is a delight.

‘Prettiest Flower There’ is a pretty and sentimental story song which Rhonda recorded on All American Bluegrass Girl in 2008, and sings here as a tribute to her late grandmother.  ‘The Last Best Place’ (included on her secular Raging Live set  a few years ago) looks at the prospect of reuniting after death, with a lovely melody and solemn fiddle fitting the elegiac mood.  Rhonda sings it quite beautifully.  On a similar theme, Rhonda first recorded Carl Jackson’s lovely ‘Homecoming’ twenty years ago, and revives it nicely here.

The vibrant ‘Where No Cabins Fall’ harks back to traditional country gospel vocals with its call-and-response vocals. ‘Help Me To Be More Like Him’ is sweet and sincere, with particularly sympathetic backings, and I like this a great deal.

Not everyone is interested in religious music, so this album may appeal to a smaller group of Rhonda’s fans than her secular material.  Committed fans may possibly be disappointed that a fair proportion of the material is familiar from Rhonda’s previous records.  However, it is a beautifully produced, played and sung album from an artist at the peak of her ability, with very little to criticize.

Grade: A

Classic Rewind: Rhonda Vincent – ‘You Don’t Love God (If You Don’t Love Your Neighbour)’

Album Review: Rhonda Vincent – ‘Trouble Free’

Rhonda’s second Giant album took broadly the same approach as its predecessor. Producers James Stroud and Richard Landis provide sympathetic backings for Rhonda’s sparkling vocals. Sadly, however, country radio had begun its move in a poppier direction following the crossover success of Shania Twain, and Rhonda’s music was just a little too traditional for the time.

‘What More Do You Want From Me?’ (written by Bob Regan and Mark D. Sanders) was the only single, and it failed to gain enough airplay to chart. That was a shame, because it’s an excellent up-tempo song with some attitude and banked harmonies as Rhonda bemoans her lot to the personification of Love.

The opening ‘Somebody’, written by Al Anderson and Robert Ellis Orrall, sounds as though it was recorded with an eye on chart potential. It is well sung but feels a bit generic (despite Alison Krauss’s harmony), and is the only disappointing moment. Another song written by Orrall, this time with Curtis Wright and Billy Spencer, the wistful lost-love ‘If I Could Stop Loving You’, is better.

‘It Ain’t Nothin’ New’ is a lovely duet with Randy Travis, written by Larry Cordle, Larry Shell and Betty Keys. Randy’s voice is at its best, and the pair’s voices meld extremely well, while the song is a sweet look at the hard work developing a relationship and keeping it alive once the shine has worn off a little, and affirming their love. It is one of my favorite tracks, with some beautiful fiddle. The love song ‘You Beat All I’ve Ever Seen’ was written by the winning combination of hitmaking songwriter Kostas, veteran Melba Montgomery, and Kathy Louvin (daughter of Ira). It has a pretty melody and a sweet and sincerely delivered lyric.

Melba Montgomery wrote ‘An Old Memory (Found Its Way Back Home Again)’ with Jerry Salley. This is a delightful up-tempo number with Rhonda wryly facing the revival of feelings she thought she had left behind, with an unexpectedly cheerful feel as she attacks the lyric, comparing her ex’s memory to
an old dog that you drop off just outside of town, uninvited, comin’ back anyhow.

The vibrant up-tempo title track was written by Carl Jackson and Jerry Salley, and is also highly enjoyable. Rhonda triumphantly denies that her ex’s departure has caused her any sleepless nights. The sunny ‘The Blues Ain’t Workin’ On Me’ was written by George Teren and Tom Shapiro, and features a cameo from Dolly Parton on harmony.

‘When I’m Through Fallin’ Apart’ written by Michael Huffman, Gene Dobbins and Bob Morrison, is another good song, with Rhonda deferring a promising new prospect for new romance until she has got over the last one.

The John Jarrard/Kenny Beard-penned ballad ‘At The Corner Of Walk And Don’t Walk’ has a lovely traditional feel and tune with some atmospheric steel guitar underpinning the melancholic mood, although the metaphor feels a little forced. The underlying story, with the protagonist calling from a payphone as she has second thoughts about leaving, and uncertain whether her future lies with or without her lover, is still good, and Rhonda’s vocal is excellent, making this another favourite of mine.

The album was no more successful than its predecessor, and it marked the end of Rhonda’s flirtation with mainstream country music. It is however, a very fine album which has a lot to appeal to country fans.

Grade: A

Classic Rewind – Rhonda Vincent – ‘I’m Not Over You’

From the Grand Ole Opry circa 1992:

Album Review: Rhonda Vincent – ‘Written In The Stars’

It is unfortunate that the fledgling Giant label was the label chosen to break Rhonda Vincent into mainstream country music. Giant was one of Nashville’s many “flatfish” labels (it starts up, flounders around for a while and then disappears) and didn’t have the marketing muscle to promote Rhonda’s music properly. That notwithstanding, Written In The Stars is a very good album, well recorded with Ms. Vincent’s vocals front and center in the mix and a cast of supporting musicians comprised from Nashville’s A-List.  Rhonda is in excellent voice and the album is well laid out in terms of tempo and style variations. The album was released in October 1993.

The album opens up with an up-tempo number, “What Else Could I Do”, which was released as the second single from the album. I am not sure why this song failed to chart as it has engaging lyrics and a memorable melody (supplied by Curtis Wright and Robert Ellis Orrall) and Rhonda nails the lyrics:

I wasn’t looking to jump into love

But I had no choice when your push came to shove

I guess I should not be surprised that I fell for you

Tell me, what clse could I do?

“Written In The Stars” follows. This song is a slow ballad, also from the pen of Robert Ellis Orrall. The lyric takes us to a place many of us have been:

I guess the love written ever so deep in my heart

Was not written in the stars

Another up-tempo romp, “Ain’t That Love” follows, this time from the pen of noted songwriter Kostas. This is one of my two favorite songs from this album. This song has more of a bluegrass sound and feel to it than most of the songs on this album.

Harley Allen penned “In Your Loneliness”,  treated here as a slow ballad. Harley was a gifted songwriter, but this is just another song.

“Mama Knows the Highway” was a #8 single released in June 1993 by Hal Ketchum. Written by Pete Wasner and Charles John Quarto, the song fits Rhonda’s style well. This might have made a good single for Rhonda if Hal hadn’t gotten to it first.  “When Love Arrives” is another slow ballad from the pen of Harley Allen. Again, in my opinion it’s just another song.

Read more of this post

Classic Rewind: Rhonda Vincent – ‘Kentucky Borderline’

Album Review: Rhonda Vincent – ‘Timeless And True Love’

Rhonda’s fourth and last album for Rebel (another 1991 release) heralded the move she was about to make into straight country music. Produced by Rhonda with brother and band member Darrin and Ronny Light, it was her best effort to date with a nice collection of material, although many of the songs were covers, some of them surprisingly recent country songs given a tasteful bluegrass or semi-bluegrass treatment. A ballad-dominated set, whose songs were picked out with the assistance of the great songwriter Jim Rushing (although he did not write any of them himself), this is basically a bluegrass influenced country album rather than a pure bluegrass one, with piano, drums, steel and electric guitar added to the basic bluegrass band, although the instrumentation is mainly acoustic and bluegrass-sounding with Rhonda’s mandolin much in evidence. Guests include banjo stars Allison Brown and Bela Fleck.

The beautiful title track was previously recorded by The McCarters, a sister trio who had a top 5 country hit with it in 1987. A sunny version of ‘Birmingham Turnaround’, a song written by Sanger D Shafer and Warren Robb which had been cut on Keith Whitley’s 1988 classic Don’t Close Your Eyes, opens the set in straight bluegrass style. Neither of these quite matches the originals, but they are agreeable listening nonetheless.

The best of the covers is a charming version of another Sanger D Shafer co-write, ‘I Do My Cryin’ At Night’, an old Lefty Frizzell song, which works well for Rhonda. Another favorite track is ‘I’m Not That Lonely Yet’, a lovely traditional country song written by Bill and Sharon Rice about the hard process of getting over an ex, and resisting the temptation of getting back together with him. It was a #3 hit single for Reba McEntire in 1982.

‘Midnight Angel’ is not the country song recorded by both Barbara Mandrell and Highway 101, but an excellent plaintive number written by two of the finest bluegrass songwriters, Pete Goble and Bobby Osborne, but given a classic country arrangement. Steel guitar dominates as Rhonda addresses the title character, her errant spouse who spends the nights preying on other women while she waits unloved at home.

‘Let’s Put Love Back To Work’, written by Larry Cordle and Mark Collie, is an attractive love duet sung with bluegrass singer David Parmley (credited only as a harmony vocalist), The lovely sounding ‘Artificial Tears’ features prominent harmonies from Alison Krauss. Despite the sweetness of the music, Rhonda gives an ultimatum to a partner unwilling to show his true feelings and pretending to be upset about her leaving.

‘Lucinda’ is a story song painting a picture of a kindly truck stop waitress who, having her own lover taken from her, lives vicariously through the truckers’ tales. Another story song, ‘Bobby And Sarah’ relates a love story from teenage romance to marriage and babies.

‘Homecoming’ is a pretty Carl Jackson gospel song about the promise of heaven. ‘Moving On’ is an early Irene Kelley song, written with Nancy Montgomery, pleasant but not that memorable.

Rhonda plays both mandolin and fiddle on the record, and showcases her skills on a self-composed instrumental, ‘Cherry Jubilee’.

This is a fine record which reveals Rhonda at a time when she was planning to spread her wings beyond bluegrass. The vocals are not quite as golden as on her later records, but the overall package is very good indeed.

Grade: A-

Classic Rewind: Rhonda Vincent – ‘I’m Not That Lonely Yet’

Album Review – Rhonda Vincent – ‘New Dreams and Sunshine’

New Dreams and Sunshine marked Vincent’s third release for the Rebel label and hit store shelves in 1991. The album fused neotraditional country and bluegrass, leaning heavily on the mandolin and banjo to guide its warm sound.

Vincent’s vivacious take on “Good Morning County Rain,” a #30 peaking single for Jeannie C. Riley in 1972, kicks off the project. Led by an infectious banjo, it improves upon Riley’s original although I was surprised by the chug-along beat Riley brought to the song. Of the two, I much prefer Vincent’s version as it comes off more accessible to the listener.

“I Feel Closer to Heaven Everyday” is a beautiful bluegrass spiritual with a gorgeous acoustic guitar and mandolin led melody. The arrangement is stellar, drawing in the listener from the first note and holding them captive until the end. It might be my favorite instrumentation on the whole project.

The same is true for “Another Tear,” which comes complete with a captivating lead banjo and Vincent’s usual soaring vocal. She’s always shined on her up-tempo material and “Another Tear” is no exception.The album’s other upbeat track is Carl Perkins’ “Rise and Shine,” led by Vincent’s impressive mandolin work. She shines on the rapid-fire lyric and infuses the number with a beautiful sweetness.

Bluegrass also leads the way on her cover of Dolly Parton’s “My Blue Tears,” a #17 peaking hit for Parton in 1971. Vincent turns it into a dobro and mandolin soaked ballad that showcases the power of her impressive range and acute playing abilities.  New Dreams and Sunshine also detours into traditional country, a switch Vincent makes with effortless ease. A fine bluegrass stylist, she’s also an incredible traditional country singer and she shows that off here perfectly. “We Belong Together” is an excellent neo-traditional ballad framed with beautiful fiddle and steel guitar. It works because of its retro sound evocative of the golden age of country music.

Another standout is the title track, a duet with its writer Charlie Louvin. It’s the most contemporary sounding number and seems perfectly placed for the early 90s. It’s very reminiscent of the sound of Mark Chestnutt’s “Too Cold At Home,” another song I love. “I’ll Be With You” is also excellent and underscores the country arrangement with a heavy dose of ear catching dobro. She turns in another stunning vocal as well; proven the grasp she has on her immense talent.

By soaking “Have I Loved You Too Late” in steel guitar, Vincent gives the song a stone country feel that works in its favor although the dense ballad isn’t exciting enough to jump at the listener. The same goes for “Thinking About You,” which adds piano to create a different texture. It’s also very good, but doesn’t have enough special qualities to stand out.

In the end New Dreams and Sunshine is an excellent album and perfect showcase for the bluegrass and country infused style that has become Vincent’s trademark. Even on this very early recording, she’s in firm grasp of her voice and demonstrates how well she knows not only herself but also her impressive talents. This album is definitely worth seeking out and can easily be downloaded or used copies can be purchased very cheaply.

Grade: A-

Classic Rewind: Rhonda Vincent – ‘Have I Loved You Too Late’

Classic Rewind: Rhonda Vincent – ‘All American Bluegrass Girl’

Album Review: Rhonda Vincent – ‘A Dream Come True’

A Dream Come True was Rhonda Vincent’s second solo album, and also her second album for Rebel Records, a Roanoke Virginia label that already had a long and distinguished history of preserving and presenting bluegrass music.

Rebel certainly put their best foot forward with this album, assembling a fine cast of musicians to augment Rhonda’s usual supporting cast, with such great musicians as Jerry Douglas (dobro) and Roy Huskey (bass) plus some other guests appearing on selected tracks. Carl Jackson, Kathy Chiavola , Wayland Patton and Tensel Davidson provide vocal harmonies throughout the album.

The album opens up with “Kentucky Sweetheart”, an uptempo romp by bluegrass stalwarts Carl Jackson and Tony King. Blaine Sprouse plays fiddle on this track. The vocal harmonies on this track are somewhat reminiscent of those of the Osborne Brothers during the 1960s. “We Were Almost Like A Dream Come True” is slow ballad co-written by Larry Cordle, a very pretty and wistful song.

One doesn’t think of Pat Alger as a bluegrass songwriter and he isn’t. That said, “Lone Star State of Mind” definitely works as a bluegrass song. This song is performed at a medium fast tempo.

What would a bluegrass album be without a religious song ? The song chosen for this album is a pretty tune titled “Mama’s Angels” from the recently departed Charlie Louvin. Rhonda does a really nice job with this song. David Parmley provides the harmony vocal.

“Wishing Well Blues” is a wistful medium slow ballad which gives Rhonda some opportunity to show off her mandolin playing. “Just For Old Time’s Sake” is a vocal duet with one of Nashville’s finest voices in Jim Ed Brown. I really love this song – Jim Ed and Rhonda harmonize beautifully – and having the great John Hartford playing banjo doesn’t hurt either.

“Break My Heart” is a somewhat generic uptempo number, in that the song itself is nothing special. Rhonda and her cast sound just fine on this number.

Steve Earle and Jimbeau Hinson penned “A Far Cry From You”, a song which was a minor hit for Connie Smith. Today, Rhonda is one of the few vocalists I would compare to Connie Smith, but when this album was recorded in 1989, she was still developing her style. This is not a criticism as Rhonda does an excellent job with this song, but I think if she recorded it today it would be better still.

Jennifer McCarter and Carl Jackson penned “Love Without A Trace”. Jennifer McCarter was the lead singer of the McCarters, a sister act whose music harkened back to a much earlier style of music. This track is a bit more modern sounding than the music of the McCarters, but it has a lovely and intricate harmony arrangement reminiscent of some older musical styles. Blaine Sprouse plays fiddle on this track.

“Goin’ Gone” is another Pat Alger tune that Kathy Mattea took to #1 in early 1988. I love the arrangement on this tune with Blaine Sprouse and John Hartford doing their thing in a very tasteful manner. It’s a tossup as to whether I like this version better than Mattea’s version.

Allen Reynolds is better known as a producer for such artists as Crystal Gayle, Emmylou Harris and Garth Brooks, but he is also a talented songwriter and “Till I’m Fool Enough To Give It One More Try” is a nice medium fast tempo ballad that Rhonda handles to perfection.

Closing out the set is “Sundown”, an instrumental written by Ms Vincent herself. In recent years Rhonda has developed into quite an accomplished songwriter but at this stage of her career she was relying on others for material. This song provides a nice closing to the album and gives Rhonda a chance to let her pickers shine a little.

A Dream Come True is not Rhonda’s best album, but it is a very entertaining album and shows Rhonda as a recording artist of considerable promise. The powerful rafter-rattling vocals would come later as would her development as a songwriter and development of a sense of humor in her music, only hinted at here and there on this album. This was the first Rhonda Vincent album I purchased, the one that served to get me hooked on Ms. Vincent’s remarkable talents.

This album is somewhere in the range of B+/A-.

Spotlight Artist: Rhonda Vincent

Known as the New Queen of Bluegrass, Rhonda Lee Vincent was born in Missouri on July 13, 1962, and is the fifth generation of musicians in her family. She began performing at age five with her family’s band, The Sally Mountain Show, mastered the mandolin at age eight and the guitar at age ten. She would also become an accomplished fiddle player. Her first recording, a cover of Jimmie Rodgers’ “Mule Skinner Blues”, was released in 1970, the same year that Dolly Parton, to whom Rhonda has often been compared, scored a Top 5 hit with the song. She began her recording career as a soloist in 1986, after becoming a winning contestant on TNN’s You Can Be a Star. She released a number of critically acclaimed albums on the bluegrass-oriented Rebel label, before deciding to venture into mainstream country. She signed with Giant Records and released two albums, 1993’s Written In The Stars and 1996’s Trouble Free. Neither album enjoyed any commercial success, so when Giant closed its Nashville offices, Rhonda returned to bluegrass and began a ten-year stint with Rounder Records, beginning with 2000’s aptly-named Back Home Again.

Though her stint in mainstream country didn’t result in the kind of success that many had anticipated for Rhonda, it did increase her visibility in Music City, and she earned the respect of her peers and became an in-demand guest artist on many mainstream country albums. By the time she returned to her musical roots, bluegrass was enjoying a resurgence in popularity and Rhonda’s own albums began to make some inroads in the Billboard Top Country Albums chart. The International Bluegrass Music Association named her its Female Vocalist of the Year from 2000 until 2006, and Entertainer of the Year in 2001. Other industry groups such as The Society for Preservation of Bluegrass Music in America have likewise honored her.

In 2010 Rhonda launched her own record label, Upper Management. In September of that year she released Taken, which reached #1 on the Billboard Top Bluegrass Albums chart. The following year she released a critically acclaimed duet album with Gene Watson, Your Money and My Good Looks. Next week a live album of religious music, Sunday Mornin’ Singin’, will be released.

Though none of her singles has ever cracked the Top 40 and she is little known outside the world of bluegrass, Rhonda Vincent is regarded by many as one of the best female artists of her generation in both country and bluegrass music. We hope you’ll enjoy our look back at her career throughout the month of July.

Album Review: Musicians Against Childhood Cancer – ‘Life Goes On’

Musicians Against Childhood Cancer is the umbrella name for an annual charity concert by some of the best current bluegrass musicians. In 2006 a compilation of tracks recorded at the concert over the years was released in aid of St Jude’s Hospital, and this sequel contains performances from more recent years. The music was all recorded live but the excellent mixing would not be out of place in a studio set. The musicianship is without exception superb, as one might expect, and this is a fine bluegrass sampler in its own right, with a range of subject matter. The two CD-set includes a generous 39 tracks.

The outstanding track as far as I’m concerned is Bradley Walker’s cover of ‘Revelation’, a somber Bobby Braddock vision of the Second Coming which was originally recorded by Waylon Jennings and more recently served as the title track of an album by Joe Nichols. Walker’s superb 2006 debut album Highway Of Dreams has been far too long waiting for a follow up and it is good to hear him again. He is accompanied by a simple acoustic guitar backing allowing the bleakness of the song to take center stage.

I’m a fan of the compelling sibling harmony of the Gibson Brothers, and they contribute the fascinating ‘Ragged Man’, a tale of bitter sibling rivalry. The brother who is reduced to homeless poverty while the brother once preferred by their mother now rolls in riches, rails against “that golden boy” and warns him to “watch his back”. I’m also a big fan of Brandon Rickman’s soulful voice, and he teams up with bandmates from the Lonesome River band for a beautifully judged reading of the traditional ‘Rain And Snow’. Later the Lonesome River Band provide one of the best instrumentals on offer, the lively ‘Struttin’ To Ferrum’, which holds the attention all the way through.

Rhonda Vincent sings a simple but lovely, plaintive version of the traditional ‘The Water Is Wide’. She also sings harmony on Kenny and Amanda Smith’s take on gospel classic ‘Shouting Time In Heaven’. Marty Raybon is excellent on the gloomy Harlan Howard song ‘The Water So Cold’ (once recorded by country star Stonewall Jackson), which sounds made for bluegrass. Read more of this post

Razor X’s Top 10 Albums of 2011

2011 was actually a slightly better year for country music than the past several years, though you’d never know it from listening to country radio. A lot of my old favorites released new albums this year, so it was a little easier than usual for me to find new music to listen to. Here are my favorite releases of 2011:

10. Working in Tennessee – Merle Haggard
While the material was not quite up to the standards of last year’s I Am What I Am, Haggard shows that he’s not ready to hang up his guitar just yet. Though he’s well past his vocal peak, his music is still worth listening to. An eclectic set that runs from Dixieland Jazz to more contemporary fare, with some social commentary and Hag’s views on the current state of country music, this set deserved more attention than it received. It is currently available for download for $4.99 at Amazon.

9. Remember Me, Volume 1 — Willie Nelson
This set picks up where last year’s Country Music left off, and even includes a re-recording of a track (a cover of Porter Wagoner’s “Satisfied Mind”) that appeared on that 2010 release. The album consists entirely of cover material, some of which Willie had recorded in the past, and none of which are his original compositions. It is to traditional country music what his Stardust collection was to pre-rock-and-roll pop. As the title suggests, a second volume is planned for sometime in 2012.

8. Neon – Chris Young
Chris Young is easily the best of the new male singers to emerge in the past few years, but his material has tended to be somewhat inconsistent. Neon is a huge step in the right direction.

7. Better Day – Dolly Parton
I was little skeptical when I first heard about this release, thinking that the last thing country music needs is another set of accentuate-the-positive songs, but Dolly pulls off this project quite well. She wrote all 12 tracks (one is a co-write with Mac Davis), and the lead single “Together You and I” is a remake of one of her old duets with Porter Wagoner. Overall, it’s a much stronger and more consistent set than her previous studio release, 2008’s Backwoods Barbie.

6. Where Country Grows – Ashton Shepherd
I really wanted to love Ashton’s debut album, 2008’s Sounds So Good, but found the material lacking in a lot of cases. After three long years, she finally released her sophomore disc, which is much more to my liking than the first. She’s tweaked her sound just enough to appeal to current commercial tastes, but sadly, the marketplace doesn’t seem to be paying much attention. If you haven’t heard this album yet, “Look It Up”. It’s currently available for download for $4.99 from Amazon.

5. Guitar Slinger — Vince Gill
The follow-up to These Days was long overdue but well worth the wait. As usual, Gill covers a wide range of musical territory from blues and contemporary Christian to adult contemporary and more mainstream county fare. But no matter what the label, it’s excellent music from start to finish.

4. Here For A Good Time — George Strait
I can’t remember a time when George Strait wasn’t at the top of the country charts. He’s been a constant presence for 30 years, and as such he is sometimes taken for granted. He hasn’t gotten a lot of critical acclaim in recent years, and admittedly, his last couple of albums didn’t compare with most of his earlier work. Here For A Good Time is his strongest effort since 2005’s Somewhere Down In Texas, and despite the title, is not a collection of party tunes. There is upbeat fare to be sure, but there are also darker and more serious offerings, such as “Drinkin’ Man”, “A Showman’s Life”, and “Poison”. For most of his career, Strait was well known for not writing the overwhelming majority of the songs he recorded, but he and his son Bubba wrote seven of the eleven tracks here, usually collaborating with Dean Dillon and Bobby Boyd.

3. Your Money and My Good Looks — Rhonda Vincent & Gene Watson
Two of country music’s best and most underrated artists teamed up for this project, which is a pure delight to listen to from beginning to end. It mixes a little bit of the old with a little bit of the new, but it is 100% pure country from beginning to end. No fancy studio trickery will be found here, just some excellent, well sung songs. My favorite tracks are the covers of Vern Gosdin’s “Till The End” and “This Wanting You”, which appeared on George Jones’ 1999 album Cold Hard Truth.

2. Hell on Heels — Pistol Annies
This collection from Miranda Lambert, Ashley Monroe and Angeleena Presley has got to be the year’s most pleasant surprise. I really wasn’t expecting much but this ended up being one of my most-played albums of the year. Despite Lambert’s current popularity — or perhaps because of it — the album isn’t getting a lot of attention from radio. Hopefully radio’s tepid response and the demands of the group members’ solo careers won’t prevent another Pistol Annies collection from being released before too long.

1. Long Line of Heartaches — Connie Smith
I rarely get excited about upcoming album releases anymore, but this was a definite exception. It’s difficult not to get excited about a new Connie Smith album, since they are such infrequent events; Long Line of Heartaches was her first new album in 13 years, and prior to that there was a 20-year gap between albums. It was produced by Smith’s husband Marty Stuart, and like his Ghost Train (my #1 pick of 2010), it was recorded in the famous RCA Studio B, where so many of Connie’s classic hits from the 1960s and 1970s were laid on tape. Half of the album’s songs were written by Smith and Stuart, with the remainder coming from the pens of legends such as Harlan Howard, Dallas Frazier and Johnny Russell. It simply does not get any better than this. It is currently available for download for $4.99 at Amazon.

Follow

Get every new post delivered to your Inbox.

Join 131 other followers