The Vaughns “Leavin’ You”

I’ve made it a cardinal rule to listen to a new CD at least three times before sitting down at the computer to give my take on it. Even then, I sometimes wonder if that’s enough to pass any kind of judgment, although I fully realize that any review of a CD — no matter who writes it — is only one person’s opinion.

By now I guess I’ve listened to Leavin’ You, a new CD by The Vaughns, the self-required three times — and then some. In fact, I’m having trouble keeping it out of my CD player. The more I listen to this West Virginia-based family band, the more I relish their work. They’ve put together quite a recording here, one that showcases some great songwriting, tight vocal harmonies, some respectable instrumental work and some dandy arrangements.

It also has a nice mix of songs, including five originals, one of which is the best darn dog song I’ve heard since “Old Shep.” Unlike “Old Shep,” “Old Bear,” written by David Vaughn, has a happy and very unanticipated ending.

David Vaughn, who contributes a bulk of the band’s lead singing, possesses a powerful voice that knows when to attack and when to whisper. I think they call that soul. Besides “Old Bear,” David Vaughn wrote the title track and two other vocals and collaborated with banjo player Dave Matheny on the CD’s two instrumentals. David plays mandolin, guitar and fiddle.

Other members of The Vaughns are John “Pappa” Vaughn on guitar and vocals; bass player Mackenzie Murphy; and Molly Matheny on fiddle and vocals. Keeping the family spirit alive in this group, Molly is the youngest daughter of banjo picker Dave Matheny and his wife Diane.

According to the band’s Web site, http://thevaughnsbluegrass.com, the group has been together since 1999. They play throughout West Virginia, Ohio and other neighboring states. Judging from the talent that oozes from Leavin’ You, the group could be playing at big bluegrass venues across the country. They are contemporary bluegrassers, to be sure, but they still maintain a traditional edge.

John Denver, I believe, would have marveled at The Vaughns’ rendition of the late singer’s classic West Virginia anthem, “Take Me Home, Country Roads.” Most of the Vaughns’ rendition is done about as barebones as it gets — guitar, a slow, soulful vocal track and a hauntingly mournful droning fiddle line in the background. It ends with Molly Matheny taking over the vocal parts. I’d say you have to have roots that run deep in West Virginia to come up with such a moving arrangement of this well-worn classic.

You may have noticed my reference to Molly Matheny’s “vocal parts” on the John Denver song. Overdubs on Molly Methany’s vocal work are found in quite a few spots in this recording. And, can this gal sing — lead and harmony. Her cover of pop composer Sara Bareilles’ quirky “Love Song,” combined with a unique arrangement of the song, are nothing short of sweet ear candy. And what a lovely job she does on the CD’s closer, “In the Sweet Bye and Bye.”

If Molly Matheny provides the sugar on this outing, David Vaughn provides the salt, not to mention the onions, garlic and a pinch or two of hot chili powder. His powerful voice is a razor, whether he’s tackling the old Waylon Jennings song, “Ramblin’ Man,” Joe Diffie’s “Pickup Man,” or one of his own creations. John Titus, owner of J & V Audio studios in West Virginia, recorded, mixed and co-produced the CD with David Vaughn. Titus, in an e-mail to www.BluegrassJournal.com, said much of the CD’s crisp, modern production can be attributed to David Vaughn’s “ability in the studio to get the most out of his instrument and voice.”

The liner notes fail to mention who plays the instruments on different tracks, so I’m unsure who to credit for the fine double-stop fiddle work that really shines on almost every track. It’s top-notch playing without ever once venturing across the over-playing line.

Joining the group here on a few tunes are guest dobro picker Ramie Bennett, who performs with another West Virginia band, Buck & Company. Bennett joins the band’s regulars with blistering solos on “Fire in the Hole,” one of the CD’s instrumentals.

Now, I must move on. I have this small (but growing) stack of CDs on my desk that are awaiting those minimal three listens and reviews of their own. I’m just having a tough time coaxing The Vaughns and Leavin’ You out of the CD player.