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
January 19, 2011
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Under The Covers is the first of Dwight Yoakam’s three covers albums; four if you count the compilation In Others’ Words, which consisted of previously released material, all cover songs. This set is a collection of songs originally made famous by mostly rockers, but with a sprinkling of rockabilly and countrypolitan sounds. Prior to writing this review, repeated listenings had familiarized me with all of Yoakam’s retreads, but I had yet to hear many of these in their original form until recently. What I found was that while Dwight stays fairly close to the original recordings for the most part here, he effortlessly infuses them with the signature sounds of his own hits: which means he’s amped them up, added some killer guitar licks and his trademark breathy twang to these rock and roll perennials.
Kicking things off with a paint-by-numbers take on Roy Orbison’s ‘Claudette’, the mood for this album is immediately established with this energetic tune. Though the Everly Brothers recorded the first version as a B-side to their 1958 mega-hit ‘All I Have To Do Is Dream’, Yoakam’s recording comes complete with the call-and-answer guitar work that instantly define an Orbison hit, and is more closely tied to Roy’s recording of the tune penned for his then-wife. ‘Claudette’ was released as the album’s first single, but failed to make it farther than #47 on the Country Singles chart. Even with the absence of a radio hit, Under The Covers still debuted at #8 on the Country Albums chart, and has to date sold over 350,000 copies.
From there, Yoakam jumps into punk-rock territory with his take on ‘Train In Vain’, the third single from The Clash’s 1980 London Calling album. Here, Yoakam puts a decided country spin on the song, with its plucky banjo lead and the smothering of the lyrics with his Kentucky drawl. Banjo-picking and added vocals by Dr. Ralph Stanley also elevate this track far beyond normal standards.
‘Baby Don’t Go’ features Sheryl Crow and as the second single, failed to chart. The first hit by Sonny & Cher – before ‘I Got You Babe’ – it stands as one of those songs that didn’t really need a remake, even though the pair of singers give it the old-school try and the production recalls the doo-wop sound of the original, it lacks that 60s originality to my ears. Also, Dwight singing the Cher lines and Sheryl singing Sonny’s lines in the verses certainly take away from the lyric’s punch. I’d much rather have heard their take on ‘A Cowboy’s Work Is Never Done’.
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