Released in 2006, All American Bluegrass Girl captured Rhonda Vincent at the height of her fame. A self-produced set, it features three songs either written or co-written by the singer and peaked at #1 on the Bluegrass album chart and #43 on the Country album chart.
Of note beside the music is the somewhat off-beat cover art, which came about after Vincent decided to forgo the glamour shot and try to act sexy. The cover image somewhat sets the tone for the project, as it’s just a little bit beneath the level of Vincent’s enormous talent.
But there are still some good moments. The excellent self-penned title track leads the album and unlike anything Vincent recorded prior, it details her life-story in song. In three minutes, Vincent perfectly captures the feeling of being one of a handful of female superstars within the bluegrass genre:
All my life they told me,
‘You’re pretty good for a girl
Some day you’ll play the Opry
just like Sonny, Bob and Earl’
I’m livin’ dreams I never dreamed
Mom and Daddy, they taught me right
To be an all American bluegrass girl
who’s singin’ here tonight
Another standout is Honey Brassfield’s “Heartbreaker’s Alibi,” a duet between Vincent and her hero, Dolly Parton. Led by Vincent’s impeccable mandolin picking, the tune details a wonderful story about a woman’s pain after catching her man cheating.
The other duet, Bobby Osborne, Peter Goble and Brian Vincent’s “Midnight Angel” is very good and the inclusion of Osborne as a guest vocalist gives the album an added texture never mind fulfilling a childhood dream of Vincent’s to sing with him. When first listening back in 2006, I wasn’t terribly accustomed to Osborne’s voice, and while his twang is an acquired taste, it adds an indelible magic to the song.
Also excellent is “Rhythm of the Wheels,” Al Wood’s chugging train song placing Vincent as an outcast, living on a locomotive, hoping she isn’t caught. The song succeeds because of the coupling of Vincent and The Rage’s tight harmonies with Charlie Cushman’s banjo licking. But the exuberant energy of “Rhythm of the Wheels” is what really helps it stand out, and cements its place as my favorite song on the whole project.
Unlike any record Vincent released before it, All American Bluegrass Girl takes risks with song selection and dives into subjects she hadn’t really touched upon before. “God Bless The Soldier,” the other self-penned tune, is heavy and clunky and while Vincent means well, the execution never quite came together for me.
On the contrary, Byron Hill and Mike Dekle’s “’Till They Came Home” works really well as a support the military song, and tells a multi-generational story that, in the chorus, gets to the heart of families emotionally effected by war. The effectiveness in storytelling, plus the understated quality of Vincent’s vocal make it my second favorite track on the album:
And as the headlines rolled
Every mother prayed
Every father lay awake
The whole night through
Every brother bragged
Every sister cried
Every hometown across this land held on
Till they came home
All American Bluegrass Girl also bustles with a few gospel songs. The most interesting is “Jesus Built A Bridge To Heaven” do to its funky dobro and acoustic guitar backed accompaniment. Connie Leigh’s “Don’t Act” is a standard Vincent bluegrass rocker, with fiery mandolin and banjo behind the cautionary tale of honoring the bible and being a Christian. It’s a fairly heavy-handed message, and won’t please everyone as it wears its faith too heavily on its sleeve. On the other hand, Val Johnson’s “Prettiest Flower There” is a beautiful story of seeing angels at a funeral but the steel guitar and fiddle mixture throughout bogs down the heavy arrangement.
The album concludes with the instrumental “Ashes of Mt Augustine,” later reprised on Your Money and My Good Looks, and a cover of Roy Acuff’s “Precious Jewel,” sung with her band, The Rage. They turn “Jewel” into a harmonious and classic bluegrass stunner and it works really well to close the album.
Overall, All American Bluegrass Girl is a mixed bag, poking holes in the consistently stellar bluegrass work Vincent was recording for Rounder in the last decade. She moves too freely between bluegrass and acoustic country and the results are good but not great. The religious material and songs about the military are often too heavy handed and polarizing, but there are some moments to treasure, namely the title track and duet with Parton.