My Kind of Country

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Tag Archives: Jamie Dailey

Album Review: Dailey & Vincent – ‘Patriots and Poets’

The title and cover artwork of Dailey & Vincent’s new album are somewhat misleading as they create the false impression that this is a collection of patriotic-themed tunes. What it actually is is a collection of well-crafted bluegrass songs, including a healthy dose of spiritual numbers, all written or co-written by Jamie Dailey and Darrin Vincent themselves.

Patriots and Poets is the duo’s first project under a new deal with Dreamlined Entertainment. In addition to showcasing the Jamie Dailey and Darrin Vincent, the spotlight is shared with their backing band, which includes bass vocalist Aaron McCune, which gives them a somewhat fuller sound than their earliest work. They also team up with an impressive line-up of guest artists including bluegrass greats Bela Fleck, Doyle Lawson, and David Rawlings. Comedian and banjo virtuoso Steve Martin also makes an appearance, as does Christian Singer TaRanda Greene.

Consisting of a generous sixteen tracks, the album opens with the energetic but lyrically light “Gimme All The Love You Got” and then veers off into more substantive territory with the religious number “Beautiful Scars”. “Baton Rouge”, which references “leaving Louisiana in the broad daylight” and walking from Baton Rouge to Birmingham is reminsicent of Shenandoah’s “Next to Me, Next to You” with acoustic instrumentation.

Surprisingly, “Until We’re Gone”, the collaboration with TaRanda Greene is a secular love song, rather than a religious one. I’m not familiar with her work but she is a pleasant but not great vocalist. Based on its title, I expected “Bill and Ole Elijah” to be a religious number, and it does have a revival meeting vibe to it and a soaring high lonesome sound that would make Bill Monroe proud, but it is actually a song about a prison break, with an interesting twist at the the end.

My favorite track is “California”, which is almost like a tongue-in-cheek retelling of the old George Jones and Tammy Wynette classic “Southern California”, in which a wife tells her good ole boy husband that she’s leaving to find her fortune in Hollywood. In this telling, however, her husband goes with her, expecting her to get discouraged and eventually want to return home. When she doesn’t, he eventually returns home without her, but he bailed out a little too soon as he learns a few months later when he discovers his Mrs. on reality television show. Steve Martin plays banjo and recites the song’s spoken verse that reveals the wife’s eventual success.

“America, We Love You” seems like it is the patriotic component referenced in the album’s title but it is actually more of an expression of appreciation for the fans who have come out to support the duo on their nationwide tours.

This is an impressive collection with no throwaway tracks, which is no mean feat considering that there are sixteen of them and it plays for about an hour. It might be a little long for those who are ambivalent about bluegrass but I thoroughly enjoyed it from beginning to end.

Grade: A

Album Review: Various Artists – ‘Christmas Grass: The Collection’

christmas grassThis two-disc compilation of the best tracks from a series of three Christmas Grass albums released in 2002, 2004 and 2007 respectively comprises equal parts instrumentals and vocal tracks, and mixes the reverent with the fun/nostalgic side of the season. Most of the material is fairly well known, but the impeccable, cleanly played arrangements and excellent vocals make these versions a welcome addition to your Christmas playlists.

Dolly Parton gets things going to a bright and cheery start with her perkily irresistible reading of ‘Christmas Time’s A-Comin’’, backed by the harmonies of Dailey & Vincent. The duo also back up Russell Moore on the briskly cheerful ‘Christmas Time Is Near’.

A charmingly nostalgic look back at Christmases past in Tom T Hall’s likeable ‘Oh Christmas Candle’ is attractively sung by the trio of Jamie Dailey, Barry Scott and Doyle Lawson. Rhonda Vincent is warm and tender on Amy Grant’s Southern-themed ‘Tennessee Christmas’, while the Larkins take on a bluegrass version of Alabama’s ‘Christmas In Dixie’, which is quite nice.

Larry Sparks lends an unexpectedly wistful melancholy to ‘I Heard The Bells Ring On Christmas Day’ (with a lyric comprising a Longfellow poem), which I liked very much. My favourite track is the most downbeat one, ‘Merry Christmas Ho Ho Ho’, about a man facing his first Christmas alone, sung with a gentle sadness by Ronnie Bowman with supporting harmonies from Darrin Vincent and Sharon White.

John Cowan provides some variety by contributinga sultry soul-style vocal on ‘Please Come Home For Christmas’, which works surprisingly well with the bluegrass instrumentation.

On the religious side of things, Dailey & Vincent sing a quietly reverent and beautifully harmonised version of ‘Beautiful Star Of Bethlehem’, set to a simple guitar and mandolin backing. This must be one of their earliest recordings together. Sonya Isaacs sounds lovely on ‘Mary, Did You Know?’, while Sarah Jarosz is pleasantly soothing on ‘One Bright Star’.

3 Fox Drive get two tracks, both rather forgettable: ‘I’ll Be Home For Christmas’ and ‘The Christmas Song’, which I usually find boring anyway.

Approximately half the tracks are instrumental versions of well-known Christmas tunes (the first of the three albums this compilation draws on was all-instrumental). I was initially a little disappointed by this, even though they are all flawlessly played, but they make for contemplative interludes. My favourite is a gently melodic performance of ‘What Child Is This’ (the Renaissance tune ‘Greensleeves’), featuring Alison Krauss on fiddle and Ronnie McCoury on mandolin, which is quite lovely. The stately melody of ‘Silent Night’ (one of my favourite carols) is also very fine, while a bouncy ‘Santa Claus Is Coming To Town’ is fun.

This is a very tasteful bluegrass collection, leaning more to the mellow and contemplative sides of Christmas than to revelry. I would recommend it to all fans of bluegrass and acoustic music at this time of year.

Grade: A

Occasional Hope’s top 10 albums of 2013

This year has seen some excellent albums released. I had to leave off my final top ten fine records by Amber Digby, Ashley Monroe, Jamie Richards, Julie Roberts and Eric Strickland. The most notable thing for me has been the resurgence in artistic terms at least, if not commercial ones, of great female voices. Last year none of my top albums was from a female artist. This year there are four solo women (all excellent writers as well as singers, although one chose to release predominantly covers this time), four male leads, and two mixed duos, and while I don’t like quotas or judging for anything other than the quality of the music, increased diversity of life experience can only be good for the variety of experiences reflected in the music.

10. Old Yellow MoonEmmylou Harris and Rodney Crowell
The long awaited reunion project was a delight, and well worth the wait. Seeing them live was a personal highlight of my year.
Best tracks: ‘Dreaming My Dreams’, ‘Here We Are

roots of my raising gregory9. Roots Of My RaisingThe Clinton Gregory Bluegrass Band
Another project presenting country classics with bluegrass arrangements. Clinton Gregory’s underrated tenor matches his fine fiddle playing, and his excellent vocal interpretations make this one worth hearing.
Best tracks: ‘New Patches’, ‘Roots Of My Raising’, ‘I Never Go Around Mirrors’

8. Made To LastJoey + Rory
While not really groundbreaking, the latest from husband and wife duo Joey Martin and Rory Feek contains some beautiful songs, tastefully produced. The couple may slow down their busy schedule next year and they are expecting their first baby together in the spring, but this (and the year’s earlier religious album) will keep fans going.
Best tracks: ‘Just A Cup Of Coffee’, ‘Now That She’s Gone’, ‘50,000 Names’ with a bonus mention for ‘The Preacher And The Stranger’ on Inspired.

showin my roots7. Showin’ My RootsDonna Ulisse
A delightful mix of country and bluegrass on a collection of the songs which inspired Donna. She’s a fine bluegrass singer and songwriter – but her majestic alto is petrfect for traditional country, and setting them against beautifully played bluegrass abackings is the best of both worlds.
Best tracks: ‘If That’s The Way You Feel’, ‘Somebody Somewhere Don’t Know What He’s Missing Tonight’, ‘In The Good Old Days When Times Were Bad’

6. Brothers Of The HighwayDailey & Vincent
The best duo in bluegrass return with their first secular album of new material since 2009. This is spectacular playing and singing, a masterclass in bluegrass.
Best tracks: ‘When I Stop Dreaming’, ‘Hills Of Caroline’, ‘Brothers Of The Highway’

i let her talk5. I Let Her TalkErin Enderlin
It only had nine tracks, which lost it a few points, but the outstanding quality of the songs and Erin’s strong voice meant this forced its way onto my top 10 list.
Best tracks: ‘I Let Her Talk’, ‘Get That At Home’, ‘Last Call’, ‘Monday Morning Church

4. The HighwayHolly Williams
Hank Jr’s daughter comes of age as an artist with this fine singer-sogwriter record. Her sultry voice, the tasteful production and excellent songs combine to make a memorable listening experience.
Best Tracks: ‘Giving Up’, ‘Drinkin’’, ‘Waiting On June

randy3. Influence Vol 1:- The Man I AmRandy Travis
Randy Travis has seemed to be on a downward spiral both personally, with well-publicised troubles with the law and an increasingly concerning alchol problem, and professionally, with his voice showing disturbing signs of deterioration. His health took a turn for the worse this year, but his Haggard-heavy album of classic covers was an unexpected highlight of the year. The man who was at the heart of the revival of more traditional styles of country music in the 1980s reveals his greatest influences, and is back in better voice than he has been for some years. the slightly lopsided selection of material may be a casualty of his health issues – perhaps more recording sessions were planned. I only hope that he recovers and a Volume 2 may be a possibility.
Best tracks: ‘What Have You Got Planned Tonight, Diana’, ‘I’m Always On A Mountain When I Fall’, ‘Someday We’ll Look Back

2. BakersfieldVince Gill and Paul Franklin
I wouldn’t necessarily have associated Vince Gill’s honeyed tenor with the Bakersfield sound, but his labor of love collaboration with steel player Paul Franklin was a revelation. Vince’s heartfelt interpretations of these classics breathes new life into them.
Best tracks: ‘Holding Things Together’, ‘Branded Man’, ‘But I Do’, ‘Together Again

12 stories
1. 12 StoriesBrandy Clark

The songwriter has been very successful in recent years selling her songs to more mainstream acts, but it turns out she kept her best songs for her own album. She serves up a dozen believable slices of life on her debut album, a pointed reminder that at its best country music is the genre which records real lives in troubled times. Ranging from the quirky wit of single ‘Stripes’ to dark cheating songs like ‘What’ll Keep Me Out Of Heaven’, and taking in the soothing sweetness of ‘Hold My Hand’ and ‘Just Like Him’, this is one of those rare albums without a weak track, and one which demonstrates that contemporary country can be great. Brandy also has a rich, expressive voice. Much-deserved critical acclaim has not yet been matched by sales – but this is an outstanding record.
Best tracks: ‘What’ll Keep Me Out Of Heaven’, ‘In Some Corner’, ‘Take A Little Pill’, ‘Pray to Jesus’, ‘Just Like Him

Album Review: Dailey & Vincent – ‘Brothers Of the Highway’

brothers of the highwayAfter a detour with their Statler Brothers tribute and two gospel releases, the duo who burst onto the bluegrass scene in 2008-2009 are back on Rounder with an exceptional album mixing old and new material. The duo is in fine form vocally, with Jamie Dailey generally taking the lead and Darrin Vincent providing a close harmony, but they vary the arrangements as best suits each song. The band is augmented by the brilliant fiddler Andy Leftwich and acoustic guitarist Bryan Sutton, among others.

The sometimes frenetic pace and constantly changing rhythms of the opening ‘Steel Drivin’ Man’ make for an arresting start, and the music never let’s go. It is one of two Jamie Dailey compositions, and may be the first country or bluegrass song to be inspired by reading a Wikipedia article. The subject may have been garnered at second-hand, but the story sounds as authentic as if it were a traditional number, while the lengthy instrumental passages allow the band to show off their musical chops. Dailey’s other song here, ‘Back To Jackson County’, is pleasantly nostalgic about a childhood in the country. The similarly titled ‘Back To Hancock County’, written by Pete Goble and Leroy Drumm, has a little more substance with its wistful consciousness of change. It is one of a few songs where Darrin shares the lead vocals with Jamie evenly, as they do on the playful Porter Wagoner top 20 country hit ‘Howdy Neighbor Howdy’, another opportunity for an instrumental showcase.

Dailey & Vincent are challenged only by the Gibson Brothers among current proponents of close bluegrass harmony, and their version of the Louvin Brothers’ ‘When I Stop Dreaming’ is simply perfect. Darrin takes the lead vocal, and does an excellent job, with Jamie’s harmony vocal twining around it on the chorus to create a magical sound. Darrin also sings lead, and band members Jeff Parker and Christian Davis add a full spectrum of voices to the harmony on the well-played and sung but otherwise unremarkable ‘Big River’.

Bill Monroe’s bluegrass classic ‘Close By’ gets Jamie’s highest high lonesome vocal with no harmony and more superb playing. ‘Tomorrow I’ll Be Gone’ is a Wilma Lee Cooper song which has been recorded by a number of bluegrass artists including Monroe; Dailey & Vincent’s version is as excellent as one would expect.

A gentle laid back take on ‘Brothers Of The Highway’, the ode to truckers recorded by George Strait on his Troubadour set, is an unexpected inclusion, but a very welcome one. Jimmy Fortune of the Statler Brothers adds a third harmony voice. Gospel tune ‘It Will Be Wonderful Over There’ gets a Statlers-style gospel quartet arrangement.

Vince Gill’s ‘Hills Of Caroline’ gets a stripped down arrangement and spare lead vocal very reminiscent of Gill’s version, with a delicate harmony – simple and beautiful, and another outstanding moment. Kathy Mattea’s 80s chart-topper ‘Where’ve You Been’, with its sensitive portrayal of a couple divided by Alzheimers but united in love, has a full-scale string section backing Jamie’s vocal, making it the one song not to adhere to traditional bluegrass stylings. It works quite well, but is slightly out-of-place.

This is the best bluegrass album I’ve heard in a couple of years – and my favorite record so far this year.

Grade: A+

Get it at amazon.

Abum Review: Rhonda Vincent – ‘One Step Ahead’

One Step Ahead was Rhonda’s 2003 release for Rounder and the first of her albums to really showcase her skills as a songwriter. As always, Rhonda is accompanied by a fine cast of supporting musicians including such aces as Aubrey Haynie (mandolin), Bryan Sutton (guitar), Ronnie Stewart (banjo), Stewart Duncan (fiddle) and brother Darrin Vincent (bass).

The album opens up with “Kentucky Borderline”, a fine breakdown composed by Ms Vincent and Terry Herd. You could describe this one as a train song in the finest tradition of Hank Snow, Jimmie Rodgers and Roy Acuff. The great vocal harmonies on this track are supplied by Jamie Dailey and brother Darrin.

“You Can’t Take It With You” is a gentle ballad from the pens of Curtis Wright and T.J. Knight about a love possibly about to disintegrate slowly.

I’ll give you my love
For the rest of my life
But I want to make sure you know
You can’t take it with you when you go

This song was released as a single to radio, reaching #58.

“One Step Ahead of The Blues” is another Vincent & Herd composition, an up-tempo tune featuring Alison Krauss on harmony vocals. This song probably should have been released as a single. Instead it was the second song on a CD single of “If Heartaches Had Wings” (a song not on this album) released in 2004.

Another Vincent/Herd composition is “Caught In The Crossfire” a rather sad story of divorce as seen through the eyes of a child

I’m caught in the crossfire
Of a world that’s so unkind
I love ‘em both but I can’t choose
Which one to leave behind

“Ridin’ The Red Line” is the song of a truck driver’s homecoming. Another Vincent/Herd composition, the song is noteworthy for the fine mandolin work by Aubrey Haynie with augmented mandolin fills by Cody Kilby.

Webb Pierce, June Hazelwood and Wayne Walker share the songwriting credits on an oldie, “Pathway of Teardrops”. This song has been recorded by many artists, but this version is very reminiscent of the Osborne Brothers recording of the song some years earlier.

The great female vocalist Melba Montgomery supplied “An Old Memory Found Its Way Back”. While Montgomery wasn’t a bluegrass artist, I’ve found that her songs lead themselves to bluegrass interpretations. This is a great ballad sung to perfection by Rhonda Vincent.

I don’t know much about Jennifer Strickland but she sure can write a pretty ballad, this one titled “Missouri Moon” about a love that has come to its end.

Who ever thought I’d be so blue
As I cry beneath that old Missouri moon

As I asked in a prior review, what would a bluegrass album be without a religious song? Much poorer for its absence, so Rhonda has chosen the old Stoney Cooper and Wilma Lee classic “Walking My Lord Up Calvary’s Hill. No version will ever replace the Stoney & Wilma Lee version in my heart, but Ms. Vincent’s version comes close, with Darrin Vincent contributing an excellent guitar solo and harmony vocals.

Another religious song follows, this one penned by Becky Buller, “Fishers Of Men”. This song is performed a cappella by Rhonda Vincent with Darrin Vincent, Mickey Harris and Eric Wilson providing the harmony vocals. This is my favorite track on the album.

Cast your nets aside
And join the battle tide
He will be your guide
To make you fishers of men

Molly Cherryholmes composed the instrumental “Frankie Belle”, the only tune on the album to feature Rhonda’s own mandolin playing.

The album closes with a short rendition of “The Martha White Theme”, a tune long associated with Flatt & Scruggs, whose portion of the Grand Ole Opry was sponsored by Martha White for decades.

One Step Ahead is a very entertaining album and shows Rhonda as a fully realized artist. I’d give it an A. The strength of this album’s songs is demonstrated by the fact that six of these songs would be reprised in her very next album Ragin’ Live.

Classic Rewind: Dailey & Vincent with Jimmy Fortune – ‘I Believe’

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