Troubled
Times Reviews |
Excerpted from a review by Aaron K. Harris in Bluegrass Unlimited “… delightfully unadorned 1950s-style bluegrass that draws heavily on, yet doesn’t mimic, the best-loved bands of that era,… a 14-track playlist that never gets boring,… a sixty-minute DVD film entitled ‘Rollin’ On,’ which documents the band as they serve as engaging bluegrass ambassadors in such venues as a Lincoln Center music festival and a community square dance.” Excerpted from a review by Jack Bernhardt in the Raleigh (NC) News Observer “James Reams and the Barnstormers are among the Northeast’s most passionate ambassadors of bluegrass. With its solid performances and savvy production, ‘Troubled Times’ should extend their reach to the rest of the bluegrass-loving world.” Excerpted from a review by Brad San Martin in Country Standard Time “The bonus DVD program cements Reams’ reputation as a bluegrass goodwill ambassador. ...Like the album, it’s a winning portrait of a persistent, engaging talent delighting in maintaining bluegrass’s noble legacy.” Excerpted from a review by John Lupton in Sing Out! “…Reams and his band have earned a reputation for tight instrumental excellence and hard-edged vocals straight from the Kentucky coal country of Reams’ youth…. among the album’s more interesting and rewarding efforts is ‘The Hills of My County,’ written by Reams and his partner Tina Aridas, a searing indictment of the coal industry that fans of Merle Travis, Hazel Dickens and Jean Ritchie will appreciate. …uncompromising, hard-core bluegrass….” Excerpted from a review by Katy June-Friesen in No Depression magazine “The Barnstormers move deftly between old-time, bluegrass, and country with a sound that leans toward the first half of the 20th century a la Bill Monroe, the Stanley Brothers and Roy Acuff. ...What makes the album so appealing is the energy, fullness, and occasional roughness of the Barnstormers’ sound. ...The Barnstormers deliver an edge that’s missing from a lot of bluegrass being made today.” Excerpted from a review by Keith Lawrence in the Owensboro (KY) Messenger-Inquirer “Reams, who grew up in London, Kentucky, near the foothills of Appalachia, creates a music that straddles the border between bluegrass and old-time country. The strength of a band is in its original material, and they offer plenty of good original material. James Reams & The Barnstormers is definitely a band to keep an eye – and an ear – on.” Excerpted from a review by Donald Teplyske, roots music columnist for the Red Deer Advocate (Canada) “On what will surely be considered one of the premier hardcore bluegrass discs of the year, if not the decade, New York City middle school teacher James Reams takes his interpretation of classic sounds to a significantly impressive level. Few bluegrass bands hail from NYC, fewer still fronted by native Kentuckians raised on the music of the hills and hollows of the bluegrass state. James Reams & the Barnstormers play acoustic music with passion and energy.” Rik James, DJ, Bluegrass Traditions / Americana Backroads, KGLT FM, Bozeman, MT “I think James Reams & The Barnstormers are bringing us bluegrass fans the sounds we long for... solid bluegrass timing, great pickin’ and singin’. And original material that is so good that any of the first generation pickers could have done ‘em.” Excerpted from a review by Bob Cherry in Cybergrass “’Troubled Times’ is an album that should shake up the bluegrass music community. This is an album that will probably find its way into many bluegrass collections.” Billy J. Ivers, DJ, WLUW 88.7, Chicago “’Troubled Times’ is a bluegrass album not to be missed. Chicago has fallen for the bluegrass of James Reams. Definitely a favorite on WLUWs Live-N-Kickin Bluegrass radio show.” Excerpted from a review by Bill Healy in the Adirondack Bluegrass Association’s March newsletter “With its songs from the dark side of bluegrass, it has a haunting quality that draws the listener in. The situations in these songs are all a part of life, and James Reams & The Barnstormers have put together an intriguing and well-crafted album.” |
Excerpted from review by Tom Druckenmiller in Sing Out! magazine: ...The Mysterious Redbirds are an old-time trio composed of James Reams, Bill Christophersen and Tom Paley....James on guitar, Bill on fiddle and Tom on banjo, with all three handling the vocal chores, 1992-1998 feels like an old shoe. Comfortable from the first note, these three are perfectly suited to perform as a trio…. The Redbirds approach their music from the song structure, not trying to duplicate anyone else. These are three master musicians playing in a loose congenial style that is so very engaging. … The listener is treated to a session featuring three of the finest players, not unlike visiting the stalls of Galax or Mt. Airy. Don’t miss this one! Excerpted from a review by Suzy Thompson in The Old-Time Herald: All three of the Redbirds are in great form here. Bill Christophersen’s fiddling is of the smooth rather than the staccato variety, but his playing has plenty of bite. His earliest fiddle influences were from bluegrass, and his playing shows it. His command of the bow is impressive, especially on tunes like “Turkey Buzzard,” which he learned from Joe Greene’s recording. James Reams’ guitar playing is strong and driving, while Tom Paley’s banjo-playing mostly remains in the background, emerging to the forefront only on a few tunes including “Oh My Little Darling.” I’m not sure who is singing on which song, but someone (I suspect it’s James Reams) has a wonderful baritone voice with a good resonant low end, particularly effective on songs like “Sweet Sunny South,” which has such a big range. I also enjoyed the lively group singing, especially on “Sangaree.” I look forward to hearing more from the Mysterious Redbirds. Excerpted from a review by David Lynch in the Old Time Music News: If you like the New Lost City Ramblers, you’ll like the Mysterious Redbirds. Don’t get me wrong, this is no carbon copy band, but there is a similarity in flavor, probably thanks to Tom Paley. However, James and Bill bring their own distinct personalities into the mix, so the trio definitely have their own sound. The tune/song selection is great. A very enjoyable CD. Excerpted from a review by Brad San Martin in Country Standard Time: This is old-time music of a supremely relaxed persuasion. The content, laid-back vibe that permeates this disc, though, is what makes it so endearing. Here are three great musicians with nothing to prove. They just lay into thirteen tunes — not even terribly obscure ones — and indulge in some great grooves and pristine empathy. While not the most earth-shattering or bone-rattling of recent old-time projects, it’s definitely one of the most enjoyable, and a great place for folks new to music to get started. A trio of experienced pickers the Redbirds have only recorded three times in eight years, and this CD contains their complete recorded exploits. Each member is a seasoned vet, with Tom Paley (the banjo player and a founding member of the immeasurably influential New Lost City Ramblers) being the most recognizable name. His clean clawhammer and three-finger playing is definitely an asset, and his treatment of the chestnut “I’ll Fly Away” is particularly dignified. Guitarist James Reams is a rock, the perfect foundation for this bass-less aggregation. Bill Christophersen’s fiddle sails on top of it all with a great balance of grit and elegance. All three sing. A modest masterpiece, for sure, but a worthy addition to any old-time library. Excerpted from a review in Dirty Linen: The Mysterious Redbirds are not, unfortunately, a working band. The best-known member, Tom Paley, lives in London while Bill Christophersen and James Reams are New York-based, though the latter grew up in East Kentucky. They play together so well that one can only wonder how good they could be with regular work. Christophersen is a fine fiddler, and the tunes he leads are excellent, from the rarely heard “Prairie Dog” and “Turkey Buzzard” (a relative of “Sandy River Belle”) to standards like “Did You Ever See the Devil?” Reams is an effective singer and an excellent ensemble guitarist…. “The Mysterious Redbirds” keeps intact Paley’s streak of never having made anything but excellent records. — DB Excerpted from a review by Steve Goldfield in Bluegrass Unlimited: They have produced a finely polished old-time string band recording. … I hope to hear lots more from the Mysterious Redbirds. Meanwhile, this recording gets my strong recommendation. Excerpted from a review by Amanda Fisher in Rambles One of the most remarkable aspects of the album is the ensemble playing on it. I’ve grown accustomed to the blues/jazz style, in which each instrumentalist takes a turn in the spotlight while the others play a sparse backup setting. Here, though, they all play spectacularly at the same time while still effectively accompanying each other. It’s wonderful to hear! Reams’ guitar is at something of a disadvantage in this since both the fiddle and the banjo are intrinsically showier instruments, but his playing is every bit as wonderful and I especially enjoyed “Broken Down Gambler” and “Dry and Dusty” in which his intricate picking balanced the dazzling fiddling. Reams’ guitar also accompanies much of the singing, and that’s a good place to hear its scope. My favorite of the instrumental pieces is “Prairie Dog” with its equally amazing banjo and fiddle – each splendid in itself, and interweaving perfectly with each other….The sung pieces are delights as well. In most either the guitar or the banjo lays down an intricate harmony to the singing, with the fiddle entering in a somewhat subdued way so as accent the singing. The songs cover quite a range, from a fascinating bluegrass version of the gospel tune “I’ll Fly Away” to a song about an outlaw, “Otto Wood the Bandit.” “Renfro Valley Home” is a Riley Puckett song in which the singer longs for home, and “Sweet Sunny South” has a similar theme in a traditional song. “I’m Gettin’ Ready to Go” is a musical response if someone says “Go to hell.” Both “Sangaree” and “Roll on the Ground” talk about hard times, themes similar to blues, and it’s interesting to compare them—it points up the fusion that the liner notes mention. This is an outstanding album, highly recommended to anyone interested in indigenous American music, the Celtic influences on it, or just plain wonderful guitar, banjo and fiddle playing. Excerpted from a review by Pete Smith in Country Music Round Up (England): The title of the album might infer a compilation of tracks from albums recorded during 1992-1998, but really it took the trio that long to record this one album. So the scene is set for a programme of old-time music that could have been recorded any time during the past seventy-five years. Wonderful recordings reviving memories of Riley Puckett (“I’m Getting’ Ready To Go”, “Renfro Valley Home”), the Skillet Lickers (“Broken Down Gambler”), the Carolina Buddies (“Otto Wood The Bandit”) and many more who helped build the multi-billion-dollar industry that is country music. Magnificent! |
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Excerpted from a review by Stephanie P. Ledgin in Sing Out!: …Some of the finest bluegrass and old-time country music one can find north of conventional bluegrass borders. For sure, Reams draws on his early Kentucky surrounds, where his father’s band would play for local square dances and his grandfather would sing a cappella at family gatherings. …Reams’ commanding voice takes the listener all the way back to Kentucky, with an unaffected Monroe-style quality that bends to capture the mood of each selection. Five originals from Reams and partner Tina Aridas could fool anyone into believing they were written long before they were born; the authentic nature of both words and melody nail the style. Listen to the true story depicted in “Buffalo Creek Flood” or the tribute given “The Cincinnati Southern.” Maguire’s two banjo compositions are crisp and allow the sidemen to handily prove their worth. … This is a top-notch recording. Let’s hear more! Excerpted from a review by Jim Lee in Dirty Linen: A traditional straight-up bluegrass record, but one that reflects an early style of the music. This collection features many original songs co-written by Reams and T. Aridas, as well as traditional numbers and songs from the 20s and 30s. Reams’ soulful voice is the highlight, as the rest of the band pitch in backing vocals, as well as mandolin, fiddle, upright bass, and banjo. A fine complement to Reams’ more traditional work and one that is sure to delight any bluegrass fan looking for something out of the mainstream. Excerpted from a review by John Roemer in Bluegrass Unlimited: The Barnstormers are a thoroughly traditional bluegrass band; their seven original tunes and eight well-selected older pieces make no accommodations for modern sounds — a plus, to my ears. Excerpted from a review by John Lupton in Country Standard Time: This isn’t citified, ersatz bluegrass, it’s the real stuff, and Reams has the credentials to back it up. He’s a certified Kentucky native, having come to the Big Apple by way of Wisconsin, and the music on this new Copper Creek disc features elements reminiscent of the sophisticated stylings of fellow Kentuckian Bill Monroe mixed with the old time, deep-hollow sound of the Stanley Brothers. The disc features 15 tracks, including traditional tunes like “Black-Eyed Suzy,” “Freight Train Blues” and “Roses in the Snow” mixed with originals by Reams and his songwriting partner Tina Aridas like “Buffalo Creek Flood” and “The Cincinnati Southern” that are story-telling songs in the classic country mold. The standout track, though, is their version of “The First Whippoorwill,” first popularized some six decades ago by early country star Bradley Kincaid.…This is hard-core bluegrass from down home. Excerpted from a review by Frank Overstreet in SPBGMA’s Bluegrass Music News: The lead vocals of James Reams are a mixture of old-time, folk and bluegrass. That may sound like an odd combination but James makes it work. The instrumental work of the Barnstormers is solid bluegrass. The songs here are very interesting. The fast paced “Hard To Love” was a new song to me. “The Cincinnati Southern,” written by James and T. Aridas, is a tribute to the steam locomotives. “Coal Dust In My Soul,” written by James, is a wonderful song that describes the job of a coal miner. Excerpted from a review by Chet Williamson in Rambles [The] results not only storm the barn, but set fire to it as well. From the first track, “Freight Train Blues,” this is top-notch bluegrass, with a strong, high-lonesome lead vocal and a tight, sweet-picking band. “Hard to Love” shows off a close harmony vocal sound that will have you drooling if you miss the way bluegrass used to sound, and you can’t get much deeper into the mountains than with a song called “Coal Dust in My Soul.” Its roots are deep, and Reams’ lyrics contain telling details: “Cigarette in the morning, cold coffee at noon / Bourbon at quittin’ time, I’m digging my tomb.” “Barnstormin’” is the first of several tight, zippy instrumentals. It’s played beautifully, and has some fun and unpredictable chord changes. That same unpredictability crops up in “The Cincinnati Southern,” an original train song, and a good, solid one. … “Buffalo Creek Flood” is the CD’s dramatic highlight, a powerful denunciation of the Buffalo Mining Co.’s 1972 accident in which a sludge dam burst, killing 125 people and leaving 4,000 homeless… It’s always rewarding to hear traditional, old-fashioned bluegrass sung and played as well as Reams and the Barnstormers do it. From their Colonel Sanders ties to the barn siding on the booklet, this one exudes the golden age of bluegrass. If that’s your golden age, you won’t be disappointed. Comments from DJs: “One of the top 12 bluegrass CDs of 2001.” Matt Winters, WKCR-FM, NYC “It is straight-up, no-nonsense, take-no-prisoners bluegrass music. …Great stuff.” Steve Daugherty, WUWG, Carrollton GA “Great traditional bluegrass played with passion and exuberance. Fine song selection … Thanks again for the fine music!” Dave Higgs, WPLN-FM, Nashville, TN “Folks LOVE the CD, and it’s going over very well. James is such an inspiration to watch. He truly feels his music, and sings from his very soul. If James is EVER within your area, he is a MUST SEE bluegrass icon.” Jerry Paul, WJCP, North Vernon IN “I love the new CD from James!!! … It’s the music style my audience wants to listen to because it’s wholesome grass and absolutely wonderful.” Mike Bonczek, WSCP, Sandy Creek/Pulaski, NY Excerpted from a review by Pete Smith in Country Music Round Up. England: [James Reams & The Barnstormers’] powerful, dedicated and knowledgeable approach to their every performance instantly causes an audience to sit up and take notice. On this generous 15 track programme Reams defines old standards like “Freight Train Blues”, “Hard to Love”, “Black Eyed Suzy”, “The First Whippoorwill”, “Is She Praying There” and Charlie Monroe’s “Rollin’ On”, whilst establishing himself as one of the greatest modern writers in the genre with “Coal Dust In My Soul”, “The Cincinnati Southern”, “Dogwood Tree”, “Buffalo Creek Flood” and “Kentucky River”. A couple of rousing instrumentals and guest shots by Scott Risner (mandolin) and Kenny Kosek (fiddle) are just icing on an already delicious cake on which I’m currently gorging myself. Excerpted from a review in The Advertiser, England: James’s guitar and outstanding voice perfectly recreate the spirit of the ‘30s and ‘40s and, on this recording, with his partners, Mark Farrell (mandolin, fiddle, harmony vocals), Carl Hayano (string bass, harmony vocals) and Mickey Maguire (banjo), turn superb versions of the classics “Hard to Love”, “Black-Eyed Suzy”, “The First Whippoorwill” and “Is She Praying There”. But Reams is not only a singer/guitarist. He is also a gifted songwriter who writes in the true tradition of country. Examples included here are “Coal Dust In My Soul”, “The Cincinnati Southern”, “Dogwood Tree”, “Buffalo Creek Flood” and “Kentucky River”. Truly a feast of old-time country and there are a couple of sterling instrumentals to get those feet tapping. Star Track: “Freight Train Blues”. You guessed it – Album of the Week!
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Excerpted from a review by Richard D. Smith in Bluegrass Unlimited Truth in reviewing, I am not objective on the subject of Walter Hensley. I am quoted on the back of this CD as calling Hensley “one of the underrated greats of the five-string,” and I stand by that. With this spirited new CD, I have developed a similar happy bias about James Reams. A pleasing singer/guitarist with smooth, well-considered phrasing who never strays from classic 1950s country-bluegrass song stylings, Reams perfectly matches the sterling-standard picking of his new partner…. As Tina Aridas’ well-written and historically valuable booklet notes stress, it was Baltimore bluegrass that first blew away the folk music revival when Earl Taylor and the Stoney Mountain Boys tore up the landmark Folksong ‘59 concert in Carnegie Hall. Playing banjo for Taylor was Walter Hensley. It’s been decades since Virginian-turned-Marylander Hensley defeated nerve-jelloed legs to wow the hootenanny crowd with what concert producer Alan Lomax later called “folk music with overdrive,” but Walter retains his ringing, rangy picking. And as much of a loyal following as he has among aficionados of the seminal Washington-Baltimore bluegrass scene and fans of Vern McIntyre’s Appalachian Grass (with whom he played in the 1990s), it’s high time Hensley found a wider audience. Ditto Reams… There are few vocalists as natural as Reams. He doesn’t have to try to sound down-home, he’s there at each turn in the song. There’s so much to like about this CD. The material is pleasingly varied, from love songs to gospel to instrumentals and even some truck and train songs. None have been overdone – some are future classics. The backing musicians assembled here as the Barons Of Bluegrass possess a king’s ransom of talent, taste, and ability well-suited to the rich live-in-the-studio mode of this production. It all comes together so well, it’s surprising that the Reams-Hensley friendship only goes back to 1999, their musical partnership to the recording sessions in February 2002, and that Hensley hadn’t recorded seriously for nearly a quarter century. If you’re tiring of the slick stuff and yearn for something straight-ahead, there’s not a false bend or blend here. Excerpted from a review by David Smith in Pow’r Pickin’ The banjo playing of Walter Hensley should be in every bluegrass fan’s collection. … Though [Hensley and Reams] are the featured musicians, they are joined by others in a wonderful, traditional quintet fashion — including true high lonesome three-part harmonies. The Barons of Bluegrass is the bluegrass that I love. …This album has it all. Perhaps it is because this is Walter Hensley’s first album in so long, but, as the title suggests and as the rich-with-history liner notes portray, this album seems to be centered around the banjo man. Well, he deserves it. It is rare to hear such punch and drive in a banjo player. Every note seems to be pulled off his instrument and thrown your way. Hensley is an undaunted banjo player who is sure and precise with instrument in hand — there are no questioning notes, just pure bluegrass. At the same time this is by no means a solo album where the main act seems to be joined by overdubbed studio recorded tracks. The Barons of Bluegrass are also a band and the talent and interaction, both instrumentally and vocally, is rowdy, gritty and true. The album is a great purchase for those seeking tradition with strength and down right good ol’ times. If you are a musician I would definitely recommend this album, not only for the history lesson within the liner notes and an appreciation for a few of bluegrass music’s masters, but also because I found it to be a real fun album to just sit back and play and sing along with. Excerpted from a review by Donald Teplyske in That High Lonesome Sound No corners were cut here! It isn’t often one has the pleasure of hearing a bluegrass album that makes no attempt at sounding contemporary. Despite modern production and opulent liner notes, the music of JR, WH & BofB is a musical reminder of how bluegrass sounded in the 50s and 60s. (I know, I wasn’t there — but I’ve done a bit of listening!) Walter Hensley is likely best known for his trailblazing banjo playing with Earl Taylor & the Stoney Mountain Boys and is well respected by bluegrass scholars who recognize his influence on the development of bluegrass music. James Reams is a Kentucky-born, New York City-based bandleader of some renown. Together, along with a very capable band, they create bluegrass music driven by smooth melody and exceptional timing. Some well-known songs are included … while others selected are suitably obscure … With a couple gospel numbers and instrumentals, mid- and up-tempo songs, and fine originals, including an exceptional band showpiece “Upper Elk Creek,” written by Hensley, JR, WH & BofB have produced a bluegrass album well worth searching out. Heartfelt music made by masterful hands! Excerpted from a review by Jerry Paul in Acoustica Magazine Included in the project are 16 pages of valuable liner notes by Tina Aridas. James Reams is quite the bluegrass historian, and Walter Hensley IS history. What a team. Their music is excellent, in perfect compliment of each other. …. Another link in the continuous chain of outstanding Reams projects that somehow manage to surpass the previous. Go JR! Excerpted from a review by Joe Ross, reviewer for Bluegrass Now magazine and SPBGMA’s Bluegrass Music News This is an interesting, eventful collaboration of two influential musicians, Reams and Hensley, who have a great deal of experience in bluegrass music. … With his band, The Barnstormers, Reams has a bluegrass vocal style with a clear, no-frills-added, old-time, traditional edge. Walter Hensley is a very accomplished banjo-player who may be best known for his many years in the late-50s with the Baltimore-based group, Earl Taylor and the Stoney Mountain Boys. Taylor once said about Hensley, “When I met him, he still didn’t have no National banjo picks — he’s made his own out of Pet Cream cans. Lord have mercy, Walter Hensley just knowed so much on that [banjo] neck; it was just impossible to make him miss a note!” …If you like your bluegrass served up with excitement in a classic style of yesteryear, this album should find a place in your collection. Excerpted from a review by Elsie Williams in BamaGrass …This is Hensley’s first recording in 25 years, and it’s one that should be on the racks of any self-respecting bluegrass lover. The CD would be worth the price just for the two original instrumentals by Hensley, “Lady Liberty” and “Upper Elk Creek.” But in addition to these banjo showcases, the album contains 11 other songs that pair James Reams’ lead vocals and rhythm guitar with Hensley’s picking. Excerpted from a review by Brenda Hough, Northern California Bluegrass Society Walter Hensley’s career started in 1959 when he was part of Alan Lomax’s Folksong ‘59 concert at Carnegie Hall. As part of Earl Taylor and the Stoney Mountain Boys, Walter was called the “Banjo Baron of Baltimore,” and his banjo playing style influenced many other players at the time including Del McCoury who started out as a banjo player… The band sounds like they’ve been together for a long time, but the group met only a few times before they recorded the project in one very busy weekend. The fine vocal harmonies and instrumental blending provide a perfect backdrop to showcase Walter Hensley’s still powerful banjo playing. The punch and melodic tone of Walter’s playing are brought out in his instrumentals “Lady Liberty” and “Upper Elk Creek.” The traditional song “Who’s Going Downtown” has fine harmonies with James, Mark and Carl, but the throbbing banjo propels the song into high gear. James Reams has been called one of the most soulful bluegrass singers, and his versions of “Brush Arbor” and “Crossing Jordan” show his heartfelt vocals. “Diesel Smoke” and “Can’t Win, Can’t Place” are light-hearted romps and good fun. This album is a real treat for fans of traditional bluegrass and excellent banjo playing. Excerpted from a review by C. Nathan Coyle in Rambles If you’re into authentic bluegrass, then The Barons of Bluegrass is right up your alley…Hensley has a clear and precise way of picking the banjo that makes a pretty unique sound. Check out the instrumental “Lady Liberty,” written by Hensley, in which he displays his strong sense of control while modifying the tempo along the way. Hensley’s banjo-picking career spans more than four decades, but he obviously hasn’t let time slow him down. Reams seems up to the task as his vocals keep right on pace with Hensley’s banjo. Reams’s voice is a higher-pitched baritone drawl that fits right in with the mood… Excerpted from a review by Frank Scott for Roots & Rhythm Fine set of traditional style bluegrass featuring singer/guitarist James Reams and obscure but highly regarded banjo player Walter Hensley accompanied by a fine band. Hensley’s career dates back to the 50s… and his hard-driving and innovative but not flashy banjo playing earned him a reputation as one of the best in the business. Reams is a younger performer with a fine voice a little akin to Lester Flatt. He and Walt joined forces a few years ago. Their first album together is a collection of traditional songs, a few originals by Reams and some well-chosen, unfamiliar covers. Review in the Music Shed Some of the best traditional banjo playing around combined with great song writing. Comments from DJs: “The ‘Barons’ CD is great hard driving bluegrass! Walter Hensley’s banjo is fantastic—he truly is an ‘underrated great’! The whole album is wonderful.” Joe Steiner, DJ, Blue Ridge Breakdown, WLFC, Findlay, OH “The new Reams & Hensley et al. project is sensational!!” John Roths, Music Director, KEOS 89.1 FM, College Station, TX “Since receiving the new CD, I’ve played it repeatedly. And it gets better every time I listen.” Joe Colvin, Bluegrass Programmer, WYSO, Yellow Springs, OH “The modern world’s ongoing march to sophistication and urbanity has for some people spawned a yearning for the simpler times of yesteryear. Chrysler built the PT Cruiser, SMEG the retro-refrigerator. In the Bluegrass World some artists are replicating the earlier sounds of Bill Monroe, Flatt and Scruggs and the Stanley Brothers. The quest for some of these Bluegrass bands is to use the recording studio to capture the early sound of Bluegrass and yet maintain their own distinct and unique band sound — to sound like an innovator, not a copy of one. James Reams, Walter Hensley and The Barons of Bluegrass are the first to do this — and in an amazingly unassuming way. With a wonderfully broad range of material, traditional and original, gospel and secular, waltz-time to honky-tonk inspired, from the very first through to the last track they maintain a sound that is distinctly theirs but fits neatly into the mold of 50 years past. There are banjo players who play more notes per second than Walter Hensley, who arguably have voices that croon smoother than James Reams or bands that have a more sophisticated and refined sound than Barons of Bluegrass, but none have captured the early spirit of Bluegrass like this album has, and that is the whole point to this recording. Let’s hope for more like this album from James Reams and Walter Hensley and The Barons of Bluegrass and that other bands follow the example and take Bluegrass back to its roots in their own unique ways.” Lindsay Mar, Chicken Hot Rod 2RRR 88.5FM, Sydney, Australia
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(CD
plus bonus double-feature DVD) Mountain
Redbird Music MRMCD-004 (Released
Feb 2005) Mountain
Redbird Music + limited-edition bonus double-feature DVD: Rollin’ On
and preview of Pioneers of Bluegrass Music. Purchase
online at 
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