Bryan McDowell has built a long, steady career as one of acoustic music’s quintessential sidemen, having performed with the likes of Molly Tuttle, John McEuen, Claire Lynch, and Sierra Hull, among others. McDowell’s self-titled recording on Mountain Fever Records moves him directly out front, providing an even greater look at his talents as a vocalist and instrumentalist.

This album consists of eight original songs, seven of which were penned by McDowell. The opening track, Garden Gate, provides a captivating tale about two lovers which is accompanied by a gentle melody. Along with Bryan on guitar and lead vocals, his first cast of backing musicians consists of Cory Walker on banjo, Jarrod Walker on mandolin, Jake Stargel on guitar, and Jeff Partin on resophonic guitar, bass, and harmony vocals.

The following track, Hold Me Like I’m Leaving, provides the perfect contrast to the aforementioned song. Written by Jesse Wells, it’s a dark piece that delves into the mindset of a self-absorbed man who isn’t capable of having true romantic feelings. With a minimalist configuration consisting of McDowell on mandolin and vocals, Partin on resophonic guitar, and Daniel Kimbro on bass, it forces the listener to fully take in what’s running through this individual’s mind.

Winter’s Comin’ On conveys the feelings that accompany the long, cold winter months. While this is a fine song lyrically, its melody is especially powerful, highlighted by the twin fiddles of McDowell and Bronwyn Keith-Hynes.

Blue Backpack and Free Consultation provide a look at Bryan’s instrumentalism and compositional ability from different angles. Blue Backpack has a blatant flavor of jazz, which is especially evident in the performances of mandolinist Issac Eicher and bassist Jeff Picker. Free Consultation carries a traditional bluegrass feel and is an excellent example of McDowell’s fiddling.

Two of the tracks, American Native and Toy Heart are both traditional standards. The former, which has been played by generations of fiddlers, is performed here as a twin fiddle piece with McDowell and Christian Ward. Gaven Largent provides excellent reso-guitar here as well. The latter is a true Bill Monroe classic, with Bryan borrowing ideas from both Monroe’s 1947 rendition, as well as the version recorded by the Bluegrass Album Band in 1981. Bryan is joined on both tracks by Mark Schatz on bass.

Bryan McDowell’s self-titled release truly captures him in his element. Not only has he written and selected excellent material, but he’s surrounded himself with stellar musicians that bring out the best in him as an artist. This project casts Bryan McDowell in the best possible light.

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Gena Britt is a veteran bluegrasser, one whose star has been continuing to rise over the last decade, in large part due to her membership in the acclaimed supergroup, Sister Sadie. Britt’s latest solo effort from Mountain Home, Streets, Rivers, Dreams & Heartaches, casts even greater light on her heartfelt vocals and masterful banjo playing.

The project opens with What Kind of Memory Will You Be, a song co-written by Britt’s Sister Sadie bandmate, Dani Flowers, along with Paul Thomas Sikes. With lyrics of reflection and contemplation about a past love, this track introduces the core cast of this project. Backing Britt on banjo is John Meador on guitar and harmony vocals, Alan Bartram on bass and harmony vocals, Tony Creasman on percussion, Jonathan Dillon on mandolin, Jason Carter on fiddle, and Jeff Partin on resonator guitar.

The following track Just Like You by Jon Randall, is one of a few instances of Gena sharing the spotlight with her collaborators. Here John Meador is featured on lead vocals and the verses, with Britt singing lead on the chorus with Meador singing harmony, making for a beautiful duet. Another example of her and Meador’s powerful vocal blend is Heading Back To Heartache by Tim Stafford and Josh Shilling

Bend in the River and Dear Departed are other examples of Gena Britt backing others up while they have their turn out front. Bend In The River features Caleb Smith of Balsam Range on lead vocals, while Dear Departed brings us stout vocal performances from Jason Carter and John Meador.

Streets of Wenatchee and Welcome To New York are instrumentals that prominently feature Britt’s banjo work. The former is an original tune by Gena, while the latter is her interpretation of a Country Gentlemen classic written by Bill Emerson and Doyle Lawson.

He Likes To Fish, co-written by Gena and Katelyn Ingardia, is a moving song inspired by Britt going fishing with her father as a child. Ingardia also co-wrote Stone of Faith with Heather Berry Mabe, who is featured singing lead vocals on the song’s verses. The chorus features rousing quartet harmony from Britt, Mabe, Meador, and Ben Issacs.

The closing track, Goodbye to the Blues, is a unique take on a Johnson Mountain Boys classic written by one of the band’s former members, Marshall Wilborn. This is especially punctuated by the twin fiddles provided by Jason Carter and the clawhammer banjo playing of Tina Steffey.

Streets, Rivers, Dreams & Heartaches is Gena Britt’s finest work to date. When you’ve got a skilled vocalist and musician paired with a quality selection of material, it ultimately makes for an enjoyable listen from beginning to end.

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While there’s a legion of excellent singers, songwriters, and instrumentalists all over the globe, there’s only a select few that are equally skilled in all three of those departments. With his fourth release, Life’s Parade on Dark Shadow Recording, Rick Faris demonstrates how he is one of these few. All twelve selections on this recording were penned by Faris, many being cowritten with household names in the bluegrass songwriting realm.

The project opens with Bend Don’t Break, cowritten with Rick Lang. With its gentle melody, the lyrics carry a positive message of how to stay strong when facing times of difficulty and misfortune. With excellent harmony vocals, from Dan Tyminski, this track introduces us to the primary backing cast on this recording. Along with Faris on guitar and Tyminski on mandolin, this configuration also consists of Ron Block on banjo, Laura Orshaw on fiddle, and Mark Schatz on bass.

Can’t Sing The Blues No More and The Story of My Life are two selections that showcase the talent featured in Faris’ touring unit, which at the time of the recording sessions consisted of Gibson Davis on banjo, Henry Burgess on mandolin, and Rick’s brother JimBob Faris on bass. The former, also cowritten with Rick Lang is a hard hitting bluegrass song with an uplifting message about one finding the happiness they’ve been seeking. The latter is a true family affair having been cowritten with Rick’s father Bob, and his brother Eddie. With lyrics of nostalgia for carefree childhood, this track features excellent trio harmony from Rick, JimBob, and Gibson. Laura Orshaw also provides fiddle on these tracks, augmenting the Rick Faris Band’s unified sound.

Lonesome Is Your Name is one of three tracks that feature the third supporting cast of instrumentalists, consisting of Harry Clark on mandolin, Russ Carson on banjo, Maddie Denton on fiddle, and Dennis Crouch on bass. Written solely by Faris, this track has an extremely spooky feel, both in its lyrics and performance. It’s especially evident in the harmony vocals provided by Justin Moses, Stephen Mougin, and Jason Carter.

The Sound of Lonely by Lang and Faris is one of the album’s true highlights. With in your face performances from everyone in the core instrumentalist cast, this song features stellar duo vocals from Rick and Shawn Lane. Let’s hope this is a collaboration we hear more of on future releases!

Another Lang/Faris collaboration, Words In This Song, features just Rick and his guitar, allowing us to focus on words that capture the songwriting process in a way that no other piece here fully accomplishes.

Life’s Parade is an album not to be overlooked. With three solid casts of supporting musicians and vocalists, stunning original material, and his abilities as a singer and guitarist, Rick Faris continues to prove that he is indeed a triple threat.

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American roots music encompasses many different forms and ideas. While some artists generally specialize in one area, or in some cases dip their toe into multiple waters, it’s rare to have an ensemble that can jump from one branch of the tree to another so flawlessly. The Burnett Sisters Band’s latest release, Easy Come, Easy Go on Pinecastle Records, demonstrates their masterful combination of traditional bluegrass, classic country, and old time music.

Blaming You and Don’t Let Me Fall will definitely remind listeners of the Osborne Brothers’ recordings as they blend bluegrass instruments right alongside steel guitar and drums, which are played by Tony Dingus and John Gardner respectively. The former by Gailanne Admuson is a song about one’s acceptance of a romance ending, while the latter by band guitarist Geary Allen is a song about struggling to hold on in the midst of life’s circumstances. Along with Allen on guitar, banjo and vocals, the Burnett Sisters Band consists of Anissa Burnett on fiddle, guitar, bass and vocals, Anneli Burnett on mandolin, fiddle and vocals, and Sophia Burnett on bass, fiddle and vocals.

Fool’s Gold by Geary Allen provides a great example of Allen’s smooth, traditionally-oriented vocal stylings. The Minister, England native’s singing has a surprising authenticity to it. Along with demonstrating his songwriting abilities, this track also does a wonderful job showcasing the vocal blend he, Anneli, and Anissa have.

The two tracks that most exemplify the band’s old time prowess are the title track, Easy Come, Easy Go, and Julianne Johnson/Tie Your Dog, Sally Gal. The former by Allen demonstrates his ability to write contemporary lyrics within the old time idiom, while the latter is a medley of two traditional tunes that finely captures the group’s instrumentalism. The group is joined on this medley by mandolin master, Mike Compton, while Roy Andrade is featured playing clawhammer banjo on both tracks.

The final two selections, Song of the Mountains and Sorrow, Grief and Pain, have both done exceptionally well for the band as singles and were both written within the group. The former by Anneli and Geary is a gentle ballad evoking feelings of nostalgia and home. This track once again features John Gardner on drums as well as Lee Bidgood on mandola. The latter is a driving bluegrass piece with a captivating flamenco guitar style intro by Allen. 

The Burnett Sisters Band have been garnering great recognition within the acoustic music community as of late. With the release of Easy Come, Easy Go it’s evident to see why. Not only can the group successfully blend different styles of traditional music, but they’re able to do it within an original framework, making for a rare combination worthy of our attention.

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With a sound that crosses the boundaries of old time, bluegrass, and folk music, the Lonesome Ace Stringband has maintained a unique combination of traditionalism right alongside creative thought. Their seventh album, Big Wing, is a collection of six original songs by the duo and four interpretations of songs gathered from different sources within the musical spectrum.

The opening track, Crowe River, was written by the duo, consisting of John Showman and Chris Coole, as the second tune in a trilogy of pieces that celebrate the three rivers that flow in and out of Belmont Lake in Havelock, Ontario. With some slightly strange elements such as jingle bells ringing and psychedelic ukulele playing, among other things. With the exception of an overdubbed bass by Sam Allison, this track was recorded live with Showman on fiddle and Chris Coole on banjo, guitar, and ukulele.

Stage Fright is a unique take on a song written by Robbie Robertson of The Band, and is the first of several covers on the album. This particular piece does an excellent job showcasing the duo’s vocal harmony, as does The Log Train, written by Hank Williams Sr. The latter is said to be the last song that people recall hearing Hank sing live.

May Day is a collaboration between the Lonesome Ace Stringband and the Andrew Collins Trio. Written by Coole and Collins, this piece takes on a particularly strong old time flavor. Along with Andrew on mandolin, the trio consists of Adam Shier on guitar and James McEleney on bass.

The title track, Big Wing, is a sentimental piece featuring John Showman on lead vocals. Written about his feelings surrounding his children growing up, this song has a catchy melody and hook throughout. Along with Showman on fiddle and Coole on banjo and guitar, the duo is joined by Steve Roy on bass, Alan Mackie on bowed bass, and Lyle Molzan on percussion.

The album’s closer, Hurricane Season, provides one of the most captivating performances on the project. First heard by the duo on Darrin Hacquard’s recording, Signs and Wonders, Showman and Coole interpret it in such a way that it sounds like something the Beach Boys would’ve recorded had they steered themselves into old time music! Here, the Lonesome Ace Stringband is joined by Charles James on bass and Gavin Gardiner on mellotron.

Big Wing is a fascinating effort. While John Showman and Chris Coole of the Lonesome Ace Stringband are skilled masters at traditional old time music, it’s clear they can step outside of that realm with their music, and do so fearlessly. 

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Though bluegrass legend Bobby Osborne is often heralded for his soaring tenor vocals, he was also an indisputable master of the mandolin, influencing many players along the way. Those who do play the eight string rank the Osborne Brothers’ 1981 CMH Records release, Bobby & His Mandolin among their favorite instrumental recordings. Having been out of print for a number of years, CMH has digitally reissued this inspiring project, which can be found on various streaming platforms.

The fourteen tunes on this recording are a combination of Bobby’s original compositions alongside his take on traditional pieces such as Sally Ann, which opens the album. It should be noted that while this project is labeled as an Osborne Brothers release, the core cast of instrumentalists consists of Bobby on mandolin, his sons Wynn and Robby on banjo and guitar, Kenny Baker on fiddle, and Jimmy D. Brock on bass.

Cherokee Lady is a stunning example of Bobby’s compositional ability. This track fully displays his unique style and perfectly demonstrates why so many have regarded him as an influence on their mandolin playing. 

Other tunes such as Old Sledge demonstrate Osborne’s ability to utilize the cross tuning that Bill Monroe, Dean Webb, and many others have used on certain pieces. Kenny Baker particularly shines here using the same cross tuning, which was commonly utilized by old time fiddlers.

Springtime and Gatlinburg are pieces that show just how much complexity Bobby could instill within his compositions. The former is a joyous, lilting piece, while the latter is played in an aggressive, captivating manner. Both tunes are played in B flat, a key which can prove challenging for mandolinists, but Osborne does it here with absolute ease.

Dusty Miller and Lime Rock are both incredible examples of how Bobby went about interpreting traditional pieces on his instrument. The former is jaw dropping, particularly towards the end with the surprising, yet seamless key change. The latter is played in the most straightforward manner of any traditional tune on this album. It effectively shows Osborne’s use of the tremolo technique.

With the digital reissue of Bobby & His Mandolin, this album will not only continue to be enjoyed by those who’ve loved it since its original release, but will hopefully inspire a new generation of mandolin pickers to learn Bobby Osborne’s one of a kind style.

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Based in Louisville, KY, twin brothers Adam and Aaron Bibelhauser have cultivated a uniquely defined sound. Combining their originality with inspiration drawn from New Grass Revival, The Osborne Brothers, and The Dillards among others, the Bibelhauser Brothers successfully straddle the line between bluegrass and country rock. Their latest project on Common Loon Records, Down the Road, is an excellent snapshot of the brothers’ musical approach.

Six of the album’s eleven selections were written by Aaron Bibelhauser, one of which is the title track, Down the Road. With beautiful harmony vocals from Dale Ann Bradley, this song best demonstrates the Bibelhausers’ originality, both lyrically and instrumentally. Along with Aaron on lead vocals and guitar, he is also featured playing piano. Though one would not typically think of that instrument within a bluegrass context, it adds a perfect texture, never getting in the way, and adding a thick layer rhythmically. As with all of the songs on this album, this track features Steve Cooley on banjo and Jeff Guernsey on mandolin alongside Aaron and his brother Adam on bass and harmony vocals. Dale Ann Bradley is also featured on Sleep a Thousand Years which tells of yearning and wondering about a lost love.

Walking on Water by Nick Dittmeier, lies squarely in the bluegrass vein. With words about navigating life after a relationship’s end, this features excellent instrumental performances from Aaron Bibelhauser, Cooley, and Guernsey. Faded Embers on the other hand takes on a swing feel, especially punctuated by the fiddle work of Michael Cleveland.

Two of the tracks are a clear nod to the newgrass movement of the 1970s. This Heart of Mine was recorded by the New Grass Revival on their 1975 album, Fly Through The Country. Here, John Cowan does a powerful job revisiting that song with remarkable vocal assistance from the Bibelhauser Brothers. 

The closing track, One Tin Soldier, became known in bluegrass circles after it was recorded by The Bluegrass Alliance in 1970, but even more so after a young Sam Bush was featured singing it with the group in the iconic 1972 documentary, Bluegrass Country Soul. Along with the Bibelhauser Brothers band, Sam faithfully recreates that performance, with the arrangement never straying far from the Alliance’s rendition. Since Bush is playing mandolin on this track, Jeff Guernsey provides some excellent fiddle playing on this song.

Down The Road is an excellent display of the Bibelhauser Brothers’ sensibilities as musicians and songwriters. No matter where the brothers create or draw inspiration from, this album provides something for everyone to enjoy.

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With a musical career boasting sideman positions with Molly Tuttle and Sam Bush among others, Wes Corbett has firmly established himself as one of the contemporary masters of the five string banjo. His latest solo release, Drift, is a continuation of the instrumental creativity demonstrated on 2020’s Cascade.

The project opens with Case of the Mundes, a tune inspired by Hall of Fame banjoist Alan Munde. Alan’s influence on Corbett comes through loud and clear in this melodic-tinged piece. Backing Wes on this track is Sierra Hull on mandolin, Bryan Sutton on guitar, Bronwyn Keith-Hynes on fiddle, Justin Moses on dobro, and Mike Bub on bass.

The following track, Salmon Run, is performed in an intense, arresting manner, especially punctuated by the twin fiddling of Bronwyn Keith-Hynes and Jason Carter. Along with Corbett, Keith-Hynes, Carter, and Bryan Sutton, we have Casey Campbell on mandolin and Vickie Vaughn on bass.

The true high points on this recording are those that feature Sam Bush on mandolin, Darol Anger on fiddle, and Todd Phillips on bass. These pieces mark the first time these three men had been in the studio together since recording Tony Rice’s landmark 1979 album, Manzanita. Combined with Wes’ banjo and Chris Eldridge’s guitar, the resulting two tracks, Eagle Harbor and Crane Island are pure magic.

Another special track is Hartford’s Bend On The Cumberland. Using one of John Hartford’s personal banjos, this tune is a beautiful tribute to John’s identifiable style.

Other compositions like The Tide Pool Jig and Stratford Blues also carry an intrepid spirit. The former features Brittany Haas on fiddle, Bryan Sutton on guitar, and Paul Kowert on bass, while the latter is a trio number featuring Corbett, Kowert, and Darol Anger.

According to Wes Corbett, Drift was a project three years in the making. The end result, filled with excitement, beauty and adventure, was well worth the wait!

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Having made her way to California via Durham, North Carolina, Amy Kassir’s formative years were spent learning old time fiddle tunes while going with her father to numerous string band festivals. Kassir’s debut solo effort, Bread and Butter, is a nod to her musical roots, with the vast majority of these nine selections containing an undeniable old time flavor.

This is most certainly the case with the opening track, Cornbread, Molasses, and Sassafras Tea/Benton’s Dream. Amy approaches this medley of tunes with a powerful confidence. As with all of the pieces, Kassir is surrounded by an excellent cast of supporting instrumentalists, which include Jake Eddy on guitar, Carter Eddy on bass, Korey Kassir on mandolin, and Victor Furtado on banjo.

The true gems of this album are the duet pieces. Cripple Creek is rendered in an exciting fashion with Jake Eddy providing stellar bluegrass banjo backup, while Little Pine Siskin is a mellow piece which features subtle yet beautiful mandolin work from Korey Kassir.

Big Sciota also falls into the mellow category in terms of its arrangement. With Kassir playing the tune at a steady, smooth pace, it allows for an even greater focus on one of traditional music’s well-loved compositions.

China Camp is the most bluegrass oriented tune on this project. Written by Paul Shelasky, Amy’s fiddling truly shines here alongside stand out performances from both Jake Eddy and Korey Kassir.

Bread and Butter is an excellent display of Amy Kassir’s instrumentalism. While this project is somewhat grounded in old time stylings, there’s plenty of proof that Amy is willing to explore and create ideas outside of that realm.

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Though its leadership has changed hands a few different times, the Clinch Mountain Boys have continually kept the Stanley sound alive for 79 years. The group’s latest album, Rollin’ On Rubber Wheels, demonstrates Ralph Stanley II paying homage to that legacy alongside strongly crafted original material.

The album opens with the title track, Rollin’ On Rubber Wheels. Written by Carter Stanley, the song was first recorded by he and Ralph in July 1964. While this version remains faithful to Carter and Ralph’s original recording, the new track does an excellent job demonstrating that powerful vocal blend that Ralph II and Alex Leach have. Along with Stanley and Leach on guitar and vocals, the Clinch Mountain Boys also consist of Stanley Efaw on fiddle and mandolin, Curtis Coleman on banjo, and Randall Hibbits on bass.

Polly’s Revenge by David Carroll is a riveting, yet even darker sequel to the classic Pretty Polly. Though one could do without some of the overtly violent imagery, it’s a captivating song that will leave you on the edge of your seat.

Long White Line comes from Buford Abner, with lyrics that tell of adventure and contemplation. This song perfectly fits the overall theme of this recording, as does Saginaw Michigan, Ralph II’s take on the country classic written by Bill Anderson and Don Wayne.

Where the Dim Lights are the Dimmest, by Lonnie Nipper and Larry Sparks, explores the loneliness and darkness one might experience at a certain point in life. The group is joined on this track by Wyatt Ellis on mandolin, whose playing perfectly fits this song’s emotional feel.

Rank Stranger and Swinging the Nine Pound Hammer are both Stanley classics, the former popularized by the Stanley Brothers while the latter was recorded by Ralph in 1983. The group does great justice to both songs, showing that the music of the Stanleys is alive, well, and more vibrant than ever.

With Ralph II at the helm of the Clinch Mountain Boys since his father’s passing in 2016, he’s successfully created a formula that honors his family’s musical legacy, while also injecting it with a touch of his own. Rollin’ On Rubber Wheels provides an excellent example of that approach.

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