My Kind of Country

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

Tag Archives: Jamie Creasy

Album Review: The Clinton Gregory Bluegrass Band – ‘Roots Of My Raising’

roots of my raising gregoryFiddler-singer Clinton Gregory grew up in rural Virginia, and played bluegrass locally as a child prodigy. Now, after last year’s delightful reminder of his talent as a straight country singer, he has returned to that first love and formed a bluegrass band, naturally taking fiddle (and acoustic guitar) duties and lead vocals himself. This album showcases this new direction with a mixture of bluegrass and country classics, all delivered in traditional bluegrass style with the less traditional but attractive addition of a harmonica on a number of tracks. The band plays brilliantly throughout, but it is the vocals which stand out. There is a good range of tempos, and producers Jamie Creasy and Scott Vestal do a fine job. The album was actually released a few months ago, but has only just come my way.

The mainly up-tempo bluegrass songs are well played with solid harmonies and excellent instrumental work, but it is not unfair to note that Clinton brings little that is really new to songs like ‘Sittin’ On Top Of The World’ which have been done so many times before, perhaps because the fast pace does not allow for as much emotional input as the country songs included, which are mostly ballads. They are nonetheless enjoyable tracks, thanks to solid musicianship and Clinton’s thoughtful vocals, brisk on ‘How Mountain Girls Can Love’, sincere on ‘Little Cabin Home On The Hill’, and high lonesome on the slower ‘Dark Hollow’. A nicely sung take on Flatt & Scruggs’ plaintive ‘Somehow Tonight’ was my favorite of the bluegrass chestnuts. There is also a sparkling instrumental on traditional fiddle tune ‘Katy Hill’.

Giving country songs a bluegrass makeover is much more successful, and I really loved all these tracks, notwithstanding the songs’ familiarity. Three of them are Merle Haggard songs. I loved Clinton’s understated and faintly melancholy version of the title track, which he manages to make sound like his own experiences – quite an achievement for such a personal song. It works perfectly in a bluegrass setting (with added harmonica). ‘Looking For A Place To Fall Apart’ has an acoustic country rather than bluegrass feel, but is quite lovely, with Clinton’s lonesome fiddle supporting his dejected vocal. I wasn’t familiar with the third Haggard song, ‘Living With The Shades Pulled Down’, which has a rather odd lyric about a man in love with a prostitute, but it made for a solid banjo-led up-tempo bluegrass number.

An intimate, deeply sad version of ‘I Never Go Around Mirrors’ is very fine, and I also loved Clinton’s beautifully measured vocal on ‘New Patches’. He closes with an original religious song, the somber and heartfelt ‘Crucifixion’.

This may not get as much attention as Alan Jackson’s bluegrass album, but it is an excellent record with great appeal for country and bluegrass fans.

Grade: A

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Album Review: Clinton Gregory – ‘Too Much Ain’t Enough’

Virginia-born fifth generation fiddler Clinton Gregory made a modest splash in the early 90s as an independent artist who nonetheless gained some airplay. His best remembered song is probably 1991’s top 30 hit ‘If It Weren’t For Country Music (I’d Go Crazy)’. It’s over 15 years since we have heard anything from him, so this unheralded release came out of the blue. He has found a new home on indie label Melody Roundup, which is basically a music publisher whose first CD release this is. The company’s catalog provides the songs, and luckily they are of a uniformly high standard.

Clinton’s sweet tenor and lovely fiddle playing are as good as ever, and his song selection is stellar, if leaning towards the downbeat. The production (by Gregory himself with publisher Jamie Creasy) is tasteful and restrained, with Clinton playing fiddle on eight of the twelve tracks.

‘Too Country For Nashville’ recalls the Nashville of the early 1980s, back when Randy Travis was “washing pots and pans”, when Clinton first came to town. He complains about the lack of any alternative destination for a country songwriter; after all,

You say I’m too country for Nashville
You could be right, these days that may be so
But if I’m too country for Nashville
Where in the hell would you like me to go?

Some may point out that he forgets the Texas option when dismissing the likes of New York, LA and Muscle Shoals as alternatives, but that would take away the point of the song.

A single earlier this year, ‘Bridges’, written by Gary Hannan and Marty Brown paints the picture of a selfish jerk whose woman is dealing with the fallout and having to apologize for his bad behaviour. The man is clearly not worth her self-sacrificial behaviour, and clearly she’s going to reach the end of her patience eventually:

Sometimes she hates how much she still loves him
He’s slowly burning bridges
Faster than she can build them

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