Marcie Horne “Everything’s Blue” ( Mountain Fever Records)

“Everything’s Blue,” a new CD on the Mountain Fever Records label has just a little bit of everything on it. Bluesy tunes, straight-ahead bluegrass, country-style ballads and gospel.

And everything is done, at least vocally, by Marcie Horne, a native of southwest Virginia, who makes a living as a DJ in Stuart, Va.

Produced by Sammy Shelor of the the Lonesome River Band and Mark Hodges, the CD contains 14 tracks, which is a blessing and, to a lesser extent, a bit of a curse. Her fans in and around Virginia will appreciate having so many tunes on this CD, but to a new listener, quite frankly, by the end of Track 14, I’d developed a bit of listener fatigue.

Horne is evidentally well known and liked in her Virginia home base as the CD attracted a nice supporting cast that includes Jeanette and Johnny Williams, Alan Bibey and producer Shelor, who also steps in the recording arena on the musician side of things.

“Everything’s Blue” starts strong with the Bill Monroe classic, “Can’t You Hear Me Calling,” and it’s done in a traditional style that would have made the father of bluegrass proud. One of my favorites on the project is the Herb Pederson tune, “Old Train,” that Seldom Scene and Tony Rice covered so well.

According to advance publicity from Mountain Fever Records, Horne grew up listening to folk, country and rock, but “was bitten by the bluegrass bug 11 years ago and never looked back.” She has a pleasant voice that carries her musical emotions well.

Her songwriting talents, showcased on six cuts on “Everything Blue,” suggest that the folk and country roots remain ingrained in her soul. I really enjoyed one of her originals, a gospel song, “God is Good.”

Although I started this review with a minor gripe about the longevity of the 14 tracks, each one has something good to offer. I simply think I would have enjoyed this first CD from a newcomer more had it had a couple less tracks on it.

Nonetheless, it’s worth a listen, even if you want to break it down into a couple of different sessions. And, as previously stated, Horne’s fans will enjoy every note, every instrumental break, of every track. As they should. She obviously put a lot of effort into producing this work.

Information about purchasing the CD can be obtained at www.mountainfever.com, or www.myspace.com/marciehorne.

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Greenbrier - “Back of the Book”

When the first track and title cut of Greenbrier’s new CD, “The Back of the Book,” came through my speakers, I thought: Great thumb-style (ala Travis-style) guitar, good vocals, good harmony. But strictly bluegrass it wasn’t. Way too much reverb on the lead vocals and the mandolin chops sounded too much like a snare drum tapping out the afterbeat. All in a good way, mind you. It sounded like mighty fine Southern gospel music.

But, Track No. 1 misleads what follows. Make no mistake, this is bluegrass — bluegrass gospel with plenty of new tunes written by members of Greenbrier, including the title track, written by band member Roger Helton, who does plenty of singing on the project and adds guitar, banjo and dobro support.

Others in the trio which is based in Pigeon Forge, Tenn., are Jimbo Whaley on guitar and vocals and bass player Scott Carris, who also adds vocal work to the 11-track CD, which is available from the Web site, www.jimbowhaley.com.

Two things really stand out on this CD. One, it contains a great deal of quality original material, songs that will have you really listening to the lyrics. Too often, it seems gospel CDs have a tendency to be filled with songs that invite a capella arrangements, but otherwise are generally weak in the lyrics department. Not so with the compositions here, including the a capella offering of “Gloryland,”a public domain tune performed by whaley and Helton. That track is followed by a wonderful Easter Brothers song, “Thank You, Lord.” The simple but effective version of the old Carter Family classic, “Workin’ On A Building,” is also difficult not to like.

In the bluegrass genre, honest and powerful voices like these are allowed to stand on their own, unpolished merits. May it always be so.

The other standout quality of “The Back of the Book” is the genuine, earthy vocals that Helton and Whaley contribute. Rest assured that if this group had been pegged to compete in the commercial country market, studio-hired vocal coaches would have ruined these two fine vocalists. In the bluegrass genre, honest and powerful voices like these are allowed to stand on their own, unpolished merits. May it always be so.

Guest musicians on the CD are Danny Barnes on mandolin and revered fiddler Shad Cobb. Ray Ball joins the group to sing the lead in the final track, “I’ll Have a New Life.” Ball’s vocal style is a good fit for the group with its rich earthiness.

Greenbrier has one previously released CD, “I Want to Know More,” that was released in 2005 and Whaley has numerous solo projects including: a live performance DVD/CD, “Jimbo Whaley & Friends” released in 2007, “The Kings of Orebank” released in 2006 and his self titled album released in 2005.

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McCoury Music will release that much anticipated Moneyland tomorrow July 8, 2008

Reading the PR hype related to McCoury Music’s release this week of the highly touted Moneyland CD, no wiggle room exists in judging this recording to be a pretty weighty political statement against today’s government-fed, corporate pillaging of the middle class and those who live below today’s median standard of living.

One might even go so far to say America’s common class — both the middle class and the ever-growing numbers of working poor — have been Bush-whacked.

At least, those are the strong, bitter sentiments of a large segment of the American public, which is dealing with fuel and energy costs climbing out of control, food prices that are doubling and often, a corporate employer who doesn’t look an inch beyond the bottom line at the people who keep the machines and computers running.

If you’re part of that segment, Moneyland will either soothe your soul or take it to the boiling point. Moneyland is about hard times. And greed. And those who suffer at the hands of the greedy.

The record label describes the CD as “a timely multi-artist collection that offers a hard-hitting look at today’s economic injustice through a thoughtful selection of six new (or newly recorded) songs, mixed with eight neglected gems and classic favorites. Framed by excerpts from two of Franklin Roosevelt’s Depression-era ‘fireside chats,’ Moneyland revitalizes country and bluegrass music’s connections to the lives of hard-working people in ways that honor the past, look to the future and challenge listeners to act in the present.”

The artists on Moneyland make an impressive list: The Del McCoury Band, Merle Haggard, Mac Wiseman, Tim O’Brien, Marty Stuart, Patty Loveless, Emmy Lou Harris, Chris Knight, Bruce Hornsby.

Moneyland will either soothe your soul or take it to the boiling point. Moneyland is about hard times. And greed. And those who suffer at the hands of the greedy.

Their songs offer deep hues of dark blues, grays and blacks to the sad stories of tough economic times. After the opening FDR comment, Moneyland kicks off with the 1931 original recording of “Breadline Blues” by Bernard “Slim” Smith. Ironically, the final musical track on the CD is “Breadline Blues 2008,” by the McCoury clan.

I personally enjoyed the role that was entrusted to Merle Haggard with this project. Yeah, the same Haggard that’s been labeled “The Poet of the Common Man.” The Hag’s “If We Make It Through December” sounds as fresh and modern on this CD as it did when it was first released in 1973. Another Haggard song from one his more recent CDs, “What Happened,” suits Moneyland’s theme to a tee. And yet, another Haggard gem, “Momma’s Hungry Eyes,” is covered to goose-bump perfection by Emmylou Harris and Rodney Crowell. And The Hag gets one spin on Moneyland with his Marty Stuart duet of “Farmers Blues.”

A veritable classic, Wiseman’s “I Wonder How the Old Folks Are At Home,” part of a medley, shines as only a classic can shine in a collection such as this.

The title cut, “Moneyland,” by Del and his boys is almost beyond description. Suffice it to say, it sounds like the McCoury group might have had a ball recording this venomous ode to greed.

Del McCoury makes no bones that Moneyland is all about modern-day power politics and the social ills they have brought America.

“Moneyland has a message that people need to hear and think about,” McCoury says in a news release, “and, especially in an election year, take action on. This isn’t about party politics, it’s about doing what’s best for our country and everyone in it, not just a lucky few.”

So, will the CD sway some votes? Undoubtedly not to the point of swinging November’s presidential election.

But the CD itself stands on its own as a musical jewel that, if the listener allows, provides plenty of fodder for some deep thinking about where this country is at and where it’s headed.

Moneyland goes on sale July 8.

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From left are Emcee C.W. Queen, Little Roy Lewis, Otis Head, Randall Franks, Raymond Fairchild and festival promoter Don Poteet presenting Head with a special award from the artists and radio fans for his many years of keeping bluegrass on the air in Northwest Georgia.

Dalton, GA — Georgia Bluegrass gospel music radio personality Otis Head, 89, celebrated 50 years in radio May 31 with the Conasauga Bluegrass Festival held in his honor near his home north of Dalton, GA.

Head began his broadcasting career with a live musical broadcast from WBLJ in Dalton, later moving to WRCD and then finally the last 23 years on WTTI. He continues broadcasting weekly from WTTI, 1530 AM each Saturday from 12:30-1:30.

“I would never believed the first time I was on radio I would have went 50 years,” he said. “I just play good music and tell people about my sponsors, many of which have been with me for decades and I sure do appreciate each and every one of them.”

Some among the performers there to honor his contributions to the industry and region were Raymond Fairchild, The Lewis Family, Randall Franks, J. Max McKee Band, Hickory Wind, Lakeside Bluegrass Gospel Band, Raven Welch Band, Valley River Trio, All For Jesus Band and others.

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Danny Paisley and the Southern Grass “The Room Over Mine” (Rounder) lands June 24.

Some things meet expectations — and that’s a good thing.

So it is with “The Room Over Mine,” the first Rounder Records CD for Dan Paisley and the Southern Grass. It has a street release date of June 24.

Carrying on a tradition started by his late father, Paisley is about as blue and grassy as it gets. He’s a mixture of high lonesome and low-down, moan-in-your-beer blues. And, the entire gamut is nicely displayed on this release.

Paisley played with his dad’s band, Bob Paisley and The Southern Grass, for several years before his dad’s passing in 2004. The senior Paisley had performed bluegrass for half a century, including 25 years leading his own band. Son Dan joined Southern Grass when he was only 15. So, it was a given — and a natural — that he carried the group’s torch after Bob Paisley’s death.

“The Room Over Mine” showcases perhaps one of the hardest-driving traditional bands wandering the festival circuit these days. There’s no holding back when Dan Paisley and his very capable band take to the stage — and that’s how this CD comes off. It’s in your face.

The CD contains a couple of cool, fun tunes –”I’m Leaving Detroit”and “Raising Cain in Texas,” the classic “The Convict and the Rose,” and hot instrumental licks all along the way (my favorite is “Sweet Potato Rag). It also has great renditions of a couple of nearly forgotten country ballads — Porter Wagoner’s hit, “I Thought I Heard You Calling My Name,” and a one-time winner for Jimmy Dickens’ “Another Bridge to Burn.” Maybe it’s just the incredible soulful vocal delivery, but these two ballads really won me over. And, it’s tough to take a pass on the old Marty Robbins tune, “At the End of a Long, Lonely Day.”

The lineup on the CD is essentially Paisley’s road band, including brother Michael on bass, brothers TJ Lundy on fiddle and Bob Lundy on banjo, and Donnie Eldreth on mandolin.

The Lundys and Paisleys share a long history of making music together. Their fathers played together for years, and the Paisley boys and Lundy boys performed together when they were youngsters.

Paisley doesn’t shift far away from the formula he’s uses on stage and in past projects. He evidentally believes there’s still room in today’s diverse bluegrass marketplace for the traditional sounds. Rounder Records apparently shares that belief — and we all benefit. “The Room Over Mine” is the real deal.

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