Cabbage Crik "You Get What You Play For" (Kneedeep Records, 1975) (LP)
(Produced by Cabbage Crik)
An adventurous modern bluegrass band from Michigan whose repertoire included grassed-up versions of songs by Bob Dylan and Elton John ("Country Comfort") as well as country and western oldies from Hank Williams and Bob Nolan, as well as a blistering cover of Don Reno's "Dixie Breakdown," and a sweeter heartsong ("You're No Longer A Sweetheart Of Mine") also from the Reno & Smiley catalogue. There's also a pair of nice original songs, "Piece Of Ground," by bassist Mark Schrock, and mandolin player Gary Kuitert's "From Michigan To Nashville, Tennessee," another one of those rueful it's-too-hard-to-make-it-in-Music-City tunes. Apparently these guys played together for many years, then branched off into different directions, reuniting in 2009 for a few one-off gigs. This is a nice record, basically straight-ahead bluegrass, but with enough of a country/rock undercurrent that it's worth noting here as well. A nice, unpretentious band with a good vibe.

Cabbage Crik "Whole Hearted... Half Headed" (Kneedeep Records, 1978) (LP)
(Produced by Cabbage Crik, Craig R. King & Jim Curtis)
Another excellent set from this well-oiled band, with a strong, soulful string-swing undercurrent... Tight harmonies and fluid, playful arrangements set these guys a notch or two above many of their newgrass contemporaries... There's also more original material on this album, and a shift away from country and bluegrass oldies, with the band breezing through tunes like John Sebastian's "Lovin' You" and a version of Jerry Smith's "Truck Stop" which has an almost Mills Brothers-ish vocal arrangement. They also cover a Carson Robison classic, along with tunes written by bandmembers Gary Kuitert and Mark Schrock, as well as one credited to D. F. Lemke (who we would assume is related to guitarist Buck Lemke...?) Overall, a pretty swell album!

The Cache Valley Drifters "The Cache Valley Drifters" (Flying Fish Records, 1978)
This popular California bluegrass band mixed modern folk songs from the likes of Kate Wolf with 'grassed-up versions of old country tunes and Tin Pan Alley standards. Mandolinist Bill Griffin was a member of Kate Wolf's band, while the other members were in a variety of off-the-radar groups before joining to form the Drifters. On ther debut, they covered John Prine's "Angel From Montgomery" and Bob Wills' "Roly Poly" alongside Bob Marley's "I Shot The Sheriff" and the folk standard "Columbus Stockade." A fine example of the eclectic spirit of yesteryear.

The Cache Valley Drifters "Step Up To Big Pay" (Flying Fish Records, 1980) (LP)
(Produced by Tom Diamant)
Another fun set, with some sweet, melodic picking and a light touch that's nice to hear, even as they deliver some dazzling licks. The repertoire is the real key here, with songs drawn from sources such as Benny Goodman and Louis Jordan from the big band era, folkies like Gordon Bok and John Prine, as well as Tom Lehrer's cowboy satire, "The Wild West Is Where I Long To Be," and a twangy version of the Grateful Dead's "Cumberland Blues," which later made it onto a compilation album of Dead cover songs. A nice album, very reflective of the mellow, eclectic sensibilities of Northern California's folk scene.

The Cache Valley Drifters "Tools Of The Trade" (Flying Fish Records, 1983) (LP)

The Cache Valley Drifters "White Room" (CMH Records, 1996)

The Cache Valley Drifters "Mightyfine.net" (Taxim Records, 1999)

Cadillac Sky "Blind Man Walking" (Skaggs Family Records, 2007)
Top-40 country songwriter Bryan Simpson has had tunes recorded by some big-name stars, folks like Gretchen Wilson and George Strait... Here he indulges his love of bluegrass music, in a set of modern progressive-grass, with songs that are a little too wordy and country-folk tinged to be considered "high lonesome," but will probably grab the attention of folks who are digging the current infusion of grassy twang into the mainstream country scene... The picking is okay, a little too drag-racey for me, but plenty fast for folks who like it that way. The highlight of this set, for me, is the slowest song, "Homesick Angel," a mournful tune with keening harmonies from Sonya Isaacs that sounds like the kind of ballad that Carl Jackson or John Starling might tackle... really quite beautiful. For me, that's the standout track, and the one that'll make it into mixes for months to come. If you like New Grass Revival, et al, you might wanna check these guys out.

Cadillac Sky "Gravity's Our Enemy" (Skaggs Family Records, 2008)

Greg Cahill & Don Stiernberg "Blue Skies" (Turquoise Records, 1992)
An early set featuring banjo player Greg Cahill of the long-lived Chicago band, Special Consensus, along with mandolinist Don Stiernberg.

Shawn Camp - see artist discography

Glen Campbell & The Green River Boys "Big Bluegrass Special" (Capitol Records, 1962)
Before hitting the bigtime, future countrypolitan star Glen Campbell cut this "bluegrass" album, with backing by Dale Fitzsimmons and Carl Tanberg of The Green River Boys. It's not really so much a bluegrass album as a bouncy set of country standards, delivered with a bland, unquashable cheerfulness reminiscent of the then-booming Folk revival. Not a bad album, actually... For Glen, it was a positively rootsy outing.

Larry Campbell And His Country Playboys "With Love To You And Those Around You" (Rich-R-Tone, 1967)

Candlewyck "Candlewyck" (Votive Records, 2001)
Progressive, new-acoustic bluessgrass made with a slew of high-powered guest artists... This disc starts off with a simply terrible 'NSync/Rascal Flatts-style harmony-vocals number ("Whatcha Gonna Say") then settles into a more nuanced set of traditional and experimentally inclined, mostly instrumental tunes. It's not entirely my cup of tea, but with guest pickers such as Terry Baucom, Don Rigsby, Tony Furtado and other, this is certainly worth checking out...

The Carter Brothers "Cracks In The Floor" (Little King Records, 2004)

Joe Carr "Otter Nonsense" (Ridge Runner Records, 1980) (LP)
(Produced by Slim Richey)
A swell set of guitar-based tunes, with tasty, tasteful picking by Joe Carr, a member of the bluegrass band Country Gazette since 1978, and before that in the Texas-based band Roanoke. Backing him are bandmates from the Gazette: Mike Anderson, Alan Munde and Roland White and, on a tune or two, the album's producer, Slim Richey. Carr takes a pretty relaxed approach -- no hurry, no fuss, just quiet, joyful musicmaking; if you could hear a guitar smile, it'd sound just like this. The music is a mix of straight-up bluegrass and acoustic blues/jazz -- on some of the tunes you can hear Carr playing in the bent-note technique popularized by Tony Rice, though on others he plays in his own guitar "voice." It's all quite nice, though... a very nice album, very easy on the ears.

The Carter Brothers "The Road To Roosky" (Compass Records, 2011)
(Produced by Tim & Danny Carter)
Veering away from the acoustic bluegrass of earlier albums these Carter Family cousins take on more of a bluesy acoustic-rock sound, albeit with banjo and mandolin laced in with the heavy chord changes. In the center of the album are a trio of gospel songs; the second half has a few tunes that hearken back to the classic Carter Family repertoire. Mostly, though, this is a modernist, folk-country outing, with less song-to-song variation than on earlier records. Worth checking out, but don't expect them to get all "Wildwood Flower," Mother Maybelle on you.

The Carter Family -- see artist discography

The Carter Family III "Past And Present" (Cash House Records, 2010)
(Produced by John Carter Cash)
This homage to the Carter Family legacy includes the trio of John Carter Cash (Johnny Cash and June Carter Cash's son) and his wife, Laura Cash, along with Dale Jett, son of the late Janette Carter (daughter of Sara and A.P. Carter, and an ardent advocate of Appalachian music and culture...) They are joined by fabled musical preservationists Nancy and Norman Blake, who have been part of other Carter-related projects in the past... I suppose the band's name implies that this is the third iteration of the Carter Family itself, following the original lineup with A.P., Sara and Maybelle Carter, and the second-generation ensemble that Maybelle led with her daughters and their kin during the 1950s, '60s and '70s. Laying claim to the Carter Family legacy is a big deal -- it's a large, far-flung clan, and apparently there are a few splits between the various branches. This is made plain from the start of this album, with the inclusion of Ron Short's "Mother Maybelle's Guitar," a protest song of sorts that was inspired by a 2004 incident in which an anonymous member of the Carter clan took Maybelle Carter's historic guitar out of the Country Music Hall of Fame and put it up for sale through a Nashville auction house. (The guitar was rescued from private ownership by a hefty donation that placed it, once again, in the museum, but for many the drama came to symbolize the degradation of rural country culture in the face of crass, modern commercialism...) Anyway, this song, which carries a fair amount of implicit intra-family finger pointing, but is balanced, perhaps self-servingly, by songs such as "In Between" and "Let It Go" that plead for reconciliation and forgiveness, and renewed dedication to traditional culture and the musical and religious beliefs of yesteryear. There are also a lot of gospel tunes on here, mostly stark, gothic ones about the end of life and heaven's call -- but for listeners who like that kind of stuff, this album certainly has a strong, heartfelt feel, and an excellent repertoire. Also of interest is how much John. Jr. is starting to sound like his dad... Naturally, this ensemble can't quite match the intensity or grace of the original Carter Family... but then again, who does? Certainly worth checking out, if you're a Cash/Carter fan.

Jason Carter "On The Move" (Rounder Records, 1997)
Bright-toned, bouncy instrumentals, featuring the sleek, savvy sawing of Jason Carter, fiddler for the Del McCoury Band. Carter has a solid command of the old-timey style, but uses this solo album as a chance to stretch out and depart a bit from the sharp traditionalism of the McCoury crew. Some of these tunes feel a bit light, but overall, this is a fine, eminently listenable disc. Don Rigsby chips in for some smoky vocals, just to break things up a little.

Bill Caswell "Oklahoma Backroads" (Flying High Records, 1980) (LP)
(Produced by Slim Richey & Bill Caswell)
A very strong set of understated but finely crafted country ballads -- soulful, contemplative and quietly compelling. Songwriter Bill Caswell hailed (not surprisingly) from Oklahoma, but he cut a fairly wide swath for himself in Nashville, helped in part by his friendship with Rodney Crowell... He wrote several songs covered by major artists such as "Kentucky Homemade Christmas," which Kenny Rogers included on one of his holiday albums. The songs on this album are sturdy, finely-crafted bones of potential hits -- you can easily imagine Randy Travis or Merle Haggard digging into these rough-hewn gems, and Caswell himself accepts his own limitations. He's not a great singer, but he is a true craftsman, and he keeps things simple throughout, with modest though rich acoustic backing. Caswell also had deep folk and bluegrass bona fides, with liner notes by fiddler Byron Berline, who recalls playing in a band with Caswell back in his college years. His song, "Sweet Allis-Chalmers" -- a love song to a tractor -- has been adopted as a bluegrass standard, notably by Country Gazette. The band recorded several more of his songs on their early '80s albums, though Caswell's own versions are quite rewarding. Recommended!

Bill Caswell "Love, Lost And Found" (Flying High Records, 1980) (LP)

The Chalker Sisters "Not Bad For Girls" (Mar-C Productions, 1986) (LP)

The Chapmans "Simple Man" (Pinecastle Records, 2005)
A beautiful bluegrass album that grows on me a little bit more every time I listen to it. The picking is solid throughout, but it's really singer John Chapman who makes this album live and breathe: his sweet, plaintive style reminds me of the young Ricky Skaggs, both in vocal tenor and in the heartfelt way he approaches each song.

The Chapmans "Grown Up (A Revisionist History)" (Pinecastle Records, 2010)
The Chapmans started their family band in 1990, and for their twentieth anniversary they decided to do a "sort of" best-of collection, re-recording some of their favorite recordings from the part two decades to see if they'd "learned anything" that would make the old songs sound new. Well, they sure do sound nice: this is a strong baker's dozen of sweet, ornate, modern bluegrass tunes, a bit flowery but heartfelt and alluring. Also included are a couple of new songs, showing where the band was in 2010, and not just looking in the past. Rhonda Vincent duets on one track, a cover of Buck Owens' "Love's Gonna Live Here Again," and studio stalwarts Stuart Duncan and Rob Ickes help fill out the sound on fiddle and dobro. Nice stuff!

The Charles River Valley Boys "Bluegrass And Old Timey Music" (Prestige Records, 1962)
A fine, generously programmed document of this early bluegrass revival band, gathering the material from two old Prestige/Folklore albums, 1962's Bluegrass And Old Timey Music and Blue Grass Get Together, with Tex Logan, which was recorded in 1964. These city slickers, who came out of the late-'50s Harvard University folk scene, perfectly captured the clattersome, irrepressible spirit of the old-time stringbands, and these two lively records were among the early touchstones of the 1960s bluegrass boom, adding a fine counterpart to the more old-timey orientation of the better-known New Lost City Ramblers. On their second album, the Charles River Valley lads were joined by Joe Val, who went on to be a key player in the East Coast truegrass scene, as well as fiddler Tex Logan, a veteran of top-flight '50s country acts such as Hawkshaw Hawkins' band, as well as bluegrass stalwarts, The Lilly Brothers. At times the playing is pretty ragged; the Get Together album is certainly more accomplished and more fluid, but all these songs have a great deal of spunk to them, even if the playing is less than perfect. An interesting historical glimpse at the roots of today's modern bluegrass scene, and fine music in and of itself!

The Charles River Valley Boys "Beatle Country" (Elektra Records, 1966)
The Beatles were the first rock band to find widespread mainstream acceptance and respectability, not only in the world of "adult" pop music and academia, but even in the hallowed halls of hillbilly hickdom. This mid-'60s relic is an early indication of that acceptance, a glib bluegrass tribute to the Fab Four that sometimes dips into Homer & Jethro-like parody, but generally plays things pretty straight. Honestly, though, as a bluegrass album, this curio rarely rises above novelty status: the picking isn't top-flight and the vocals sound blithe and insincere (even with a young Joe Val in the trio). It's cute, but it's not very engaging.

Chatham County Line "Chatham County Line" (Bonfire Records, 2003)
Indiebilly types who bend their hands at bluegrass, these Chatham boys seem dutiful and earnest, maybe a little too on-their-sleeve-y at times, but with their hearts in the right place. Highlights include a whiz-bang instrumental, ("Butterwheel") and a goofy, loopy tribute to John Hartford (called, appropriately enough, "Song For John Hartford") which has the same sort of imitative oddness as, say, Don Bowman's word-for-word cover version of "Alice's Restaurant..." The band might not have the instrumental chops to put them on any festival A-lists, but their material is original and they're certainly worth checking out. What with schedule conflicts playing in Tift Merritt's band and all, it seems doubtful they'll really stick it out as bluegrassers, but as genre-straddling albums go, this one merits a good second look.

Chatham County Line "Route 23" (Yep Roc Records, 2005)

Chatham County Line "Speed Of The Whippoorwill" (Yep Roc Records, 2006)
Wow. These guys have grown up... a lot since their last album... Not that they weren't good before, but this album really hits the nail on the head... Some really soulful, richly inventive space folk/Americana, with a dash of the bluegrass twang they previously specialized in. There are several songs on here that are simply enthralling -- maybe not "great" songs or classics that I'd find myself singing along to for years to come, but there's something arresting about them -- the skillful, assured musicianship along with the thin, urgent, intelligent vocals -- that lets you know these are real country fans, fully committed to their music, and capable of taking it in new directions. We need more records like this -- musically mature, culturally adept and full of sly, sensual depth. I'm impressed!

Chatham County Line "IV" (Yep Roc Records, 2008)

Cherryholmes "Cherryholmes" (Skaggs Family Records, 2004)
This is, flat out, one of the best true-blue, dyed-in-the-wool, traditionally oriented bluegrass groups this side of Del McCoury's band... This album is a real sizzler, with plenty of sweet pickin' and soulful vocals that are aglow with sincerity, emotion and depth... The Cherryholmes family, who hail from Southern California, sound like they really enjoy playing this music, and the feeling beams through to the listeners as well... This is, above all, a really fun record. This is their fourth album and, honestly, there isn't a weak track on it... Speaking of which, the song selection is also first-rate, from numerous crackling originals to some well-chosen oldies such as

Cherryholmes "Cherryholmes II: Black And White" (Skaggs Family Records, 2007)
Another sizzling set from this high-powered family band... Dazzling traditional bluegrass played with the kind of drive and sincere enthusiasm that's a rare commodity in today's overly-professional entertainment world. The Cherryholmes band are clearly really into what they're doing, and they have the talent to back it up. Singer/banjo player Cia Cherryholmes is a force to be reckoned with, both with her instrumental chops and her sweet vocal tone and phrasing... Oh, and did I mention she writes great original material as well? You'll find some great new songs on here, particularly the ballads where they settle into a smoother, soulful groove. My only quibble is with some of their instrumental flights, which can sound a little too brisk and wild, but really that is only a quibble: this group is clearly one of the most powerful, potential-filled bands in modern bluegrass today. Looking forward to Cherryholmes 3!

Chesapeake "Rising Tide" (Sugar Hill Records, 1994)
Ew. I mean, sure, there are several players on here that I deeply admire, namely Mike Auldridge and Jimmy Gaudreau... even Tony Rice makes a guest appearance on a version of "Summer Wages..." But this is a pretty dismal crossover effort, with a drippy progressive style which I suppose is an attempt to tap into the "adult contemporary" style pioneered by Alison Krauss, et al. The quartet is led by lead singer Moondi Klein, and there's just something incredibly leaden and overbaked about the whole project... Doc Watson adds fulsome praise for the band on the back cover.. but I guess even ol' Doc can have a few lapses in judgement. At any rate, I can see the argument for modernizing the music, but this particular project really didn't work for me.

Chesapeake "Full Sail" (Sugar Hill Records, 1995)
Same crew with mainly the same approach... The picking is sharper and has more twang, but the vocals still sink this album like a rock. Good song selection, with classics like "Are You Tired Of Me, My Darling," Steve Gillette's "Sweet Melinda" and Norman Blake's "Last Train From Poor Valley..." But every tune invariably becomes unlistenable when Klein's mannered vocals kick into full gear. This album is better than Rising Tide, but there's still plenty of records that are more fun to listen to than this...

Chesapeake "Pier Pressure" (Sugar Hill Records, 1997)

The Churchmen "On The Journey Home" (Pinecastle Records, 2003)
Another nice bluegrass gospel album, with the music in the forefront and a nice set of standards and original tunes that aren't too in-your-face about the religious message. Nice melodic approach, and plenty of solid picking.

The Churchmen "Traveling Through" (Pinecastle Records, 2006)

The Churchmen "I'll Be Long Gone" (Pinecastle Records, 2008)

The Circuit Riders "Let The Ride Begin" (Pinecastle Records, 2006)
Outstanding harmony vocal-based melodic bluegrass, the kinda stuff they called "progressive" bluegrass back in the '70s, but taken here to an exquisite height. This would be an easy album to miss, what with the generic album art and all, but if you like really, really good bluegrass, you owe it to yourself to pick this one up. Amid a flood of hot, but too-perfect superpicker albums, these guys dig down deep into what I, for one, like best about bluegrass, and that's sweet singing and telling a story with honesty and direct emotional presence. The band comes, not surprisingly, from the remnants of the last lineup of the Country Gentlemen, but various members have also kicked around in other top-flight bands. The leading force seems to be guitarist-vocalist Greg Luck, though there are also some other stunning contributions, notably from banjoist Greg Corbutt and Jaret Carter on res-guitar, who both chime in with some gorgeous melodic runs. There's a softness to this album that's a welcome relief from the driving, diamond-hard production style that so many bands seem to favor nowadays. Which isn't to say that this is a wimpy album, or anything -- hardly. Indeed, this is one of the best 'grass albums I've heard in the last few years. Looking forward to the follow-up!

City Limits Bluegrass Band "Hello City Limits" (Biscuit City Records, 1975) (LP)

City Limits Bluegrass Band "Live! At the Oxford Hotel" (Biscuit City Records, 1976) (LP)

Vassar Clements -- see artist discography

Michael Cleveland "Flame Keeper" (Rounder Records, 2002)
A blistering fiddle-and-banjo-led set, with that bite and bounce that seems to missing in many of the too-smooth albums of today. This disc is a delight... I also enjoy the vocals, which have an offhand, square dance-ish feel which signals that as an artist Cleveland isn't too stuffy or self-important. It's the music that matters, and the music is good... mighty good!

Michael Cleveland & Tom Adams "Live At The Ragged Edge" (Rounder Records, 2004)
A lively, often dazzling set of mostly-instrumental duets by these two bluegrass virtuosi, zipping their way through around two dozen tunes, most of 'em played at a lightning pace on fiddle and banjo. The vocal material is nice, too -- in fact, an album highlight comes when Tom Adams flubs the lyrics on "Shady Grove," and improvises with the inspired line, "Blah, blah, blah..." Nice to sometimes see a few cracks in the super-musicianship of the bluegrass upper crust. And a good sense of humor, too!

Michael Cleveland "Let 'Er Go, Boys!" (Rounder Records, 2006)

Michael Cleveland & Flamekeeper "Leavin' Town" (Rounder Records, 2008)
(Produced by Jeff White & Michael Cleveland)
If you're looking for some plain old, fast-paced high-lonesome style bluegrass, this set delivers the goods. Fiddler Michael Cleveland, along with lead vocalists Todd Wakestraw (who also plays guitar) and Jesse Brock (mandolin), barrels through a lively set of pure, traditional bluegrass, laying down some fine pickin' without making too big a deal of it. This disc features plenty of great songs, a few hot instrumentals, and some good, heartfelt gospel as well. Worth checking out!

The Clifton Family Old-Time Band "Mountain Heritage" (Outlet Records, 1979) (LP)
(Produced by Rod Shively)
A wonderfully low-key album of back-to-basics mountain music by a family band who roots trace back to rural Vesta, Virginia, where their parents -- William Taylor Clifton and Ruth Cockram Clifton -- sang in Primitive Baptist churches. The elder Cliftons had six children, who all learned various instruments and played music together... The inspiration for this album came from a family tragedy when one of the brothers, Jewell Clifton, suffered a fatal heart attack while playing guitar in an informal jam session. This spurred the remaining siblings to gather together and record an album in his honor, with Ebo Clifton on banjo and guitar, Marvin Clifton (dobro and guitar), Iva Connor (bass), Rhoda Kemp (autoharp and banjo), and one non-family member, C. E. Stewart Jr., a championship fiddler and guitar picker, filling out the sound. It's a very listenable, satisfying set, with a mix of Appalachian chestnuts and lesser-known mountain tunes. Quite nice, really. No muss, no fuss, just good, sweet, heartfelt music.

Company Comin' "Turn Back The Clock" (1980) (LP)

Mike Compton & David Grier "Climbing The Walls" (Rounder Records, 1989)

Mike Compton & David Long "Stomp!" (Acoustic Disc Records, 2006)
One of those wonderfully relaxed sessions that the best bluegrassers can create, when they just settle down and get into a mellow, front porch vibe. Mandolinists Mike Compton, a founding member of the Nashville Bluegrass Band and David Long, of the Wildwood Mountain Boys, are both truegrassers who get into the old-school mode and know how to keep things sweet and simple. This is quite a nice record, with both pickers trading lyrics and licks while working through a bunch of their favorite songs... Another one of those lovely "little" records that producer David Grisman has the class and good taste to release on disc. Recommended!

Connie & Babe "Basic Bluegrass" (Rounder Records, 1973) (LP)

Connie & Babe "Down The Road To Home" (Rounder Records, 1995)
A pleasantly understated album, by one of the sweeter and more low-key bluegrass outfits. Connie & Babe are longtime fans of mine, a lesser-known, loosely-knit outfit that dates back to the 'Fifties, but who thankfully were "rediscovered" by Rounder, back in the '70s. This album was their first new one in over twenty years, and it was well worth the wait, with Connie Gately and Babe Lofton in fine form, with plenty of talented cohorts along for the ride. Sweet stuff - recommended!

Jack Cooke "Sittin' On Top Of The World" (Pinecastle Records, 2006)
(Produced by Jim Lauderdale)
Fab, back-to-basics, country'n'folk-tinged truegrass. Although he's hardly a household name, Jack Cooke has been a mainstay of the traditional bluegrass scene for decades -- he played rhythm guitar in the Stanley Brothers band before a four-year stint as lead vocalist in Bill Monroe's Blue Grass Boys, and rejoined Ralph Stanley in 1970, sticking with the Clinch Mountain crew ever since. His debt to Dr. Ralph is readily apparent -- when he wants to, he sounds just like him, although he also has a Jimmy Martin-ish bluesy drawl that he can turn to as well. This is a fine album, with Cooke working his way through a solid set of twangy oldies -- "Walking The Dog," "Little Georgia Rose," "Sugar Coated Love," Dark Hollow," "North To Alaska..." -- stuff that he obviously loves to sing, and that his sidemen enjoy pickin' on as well... And, man -- what a talented crew! Ralph Stanley and his son Ralph II are there, as well as Del McCoury and his clan, with an appearance by David Grisman, and a few tunes that feature the album's producer, Jim Lauderdale. Lauderdale also contributes a new song, "That's How The Cookie Crumbles," which fits just perfectly in with the album's cheerfully nostalgic vibe. If you like your bluegrass straight up and straightforward, you might wanna check this one out.

Jim Connor & Richard Lockmiller (Richard & Jim) "R&J Sing American Folksongs" (Folklore, 1962)

Jim Connor & Richard Lockmiller (Richard & Jim) "Folk Songs And Country Sounds" (Capitol Records, 1964) (LP)

Jim Connor & Richard Lockmiller "Two Boys From Alabama" (Capitol Records, 1965)
(Produced by Marvin Hughs)
Vintage bluegrass and old-timey tunes, given a dose of collegiate, folk-scene showmanship... In the early 1960s, the Richard & Jim duo had a major paying gig as performers on ABC's nationally-broadcast "Hootenanny" TV show, where they mixed genuine old-timey music with a smoothed-out version of old country variety shows. Jim Connor stands out as a soloist on banjo, a master of the Appalachian "frailing" style whose technique was praised by none other than Earl Scruggs; later in the decade he joined the New Kingston Trio, and later became a sideman in John Denver's band. This was the last Richard & Jim album, and it has a nice feel, lively and earnest, fresh-faced and accessible to mainstream listeners, while still rooted in real rural culture. They also have a strong, persistent hint of the old brother-duo sound of the Delmore Brothers, who came from the same area of Alabama (and probably knew many of the same musicians that Connor learned from...) This isn't as sizzling or as raw as other bluegrass records of the same vintage, but it's worth checking out.

Jim Connor "...Personal Friend Of Arthur Kuykendall, Monk Daniel And Cluny Rakestraw" (RCA, 1975)
(Produced by Milt Okun & Kris O'Connor)
Love the album title. (The three names refer to an old-timey banjoist who mentored Connor, a fiddler who played on his early albums, and the fictional(?) Cluny Rakestraw, which was apparently a made-up name that guitarist Clarence White used as a faux songwriter credit for traditional material...) Anyway, this was the record that Connor made after John Denver hired him to be in his band and recorded one of his songs -- "Grandma's Feather Bed" -- on his 1974 gold album, Back Home Again. Denver also appears on this record, singing lead vocals on the first track, "Banjo Song," and sings harmony on some other tracks. It's a far-flung, kooky album, with kind of a similar vibe to John Hartford's '70s records, though maybe not quite as relaxed and funky. There's plenty of hot, fast banjo plunking, though, with backing by hot pickers such as James Burton, Emory Gordy and Connor's longtime friend Steve Young, who plays guitar and gets several shout-outs in the liner notes. Some of this material seems a little forced, but it's still a noteworthy album that's emblematic of the eclectic vibe of the '70s.

The Cooke Duet/The Singing Cookes - see artist discography

Wilma Lee & Stoney Cooper - see artist discography

Larry Cordle & Glenn Duncan "...& Lonesome Standard Time" (Sugar Hill Records, 1992)

Larry Cordle/Carl Jackson/Jerry Salley "Against The Grain" (LCJS Records, 1999)

Larry Cordle/Carl Jackson/Jerry Salley "Lonesome Cafe" (2001)

Larry Cordle & Lonesome Standard Time "Songs From The Workbench" (Shell Point Records, 2002)
Rock-solid melodic bluegrass from an old-timer with an established track record as a Nashville songwriter. Cordle's ties to the world of Garth Brooks and John Michael Montgomery doesn't seem to have tainted his love of good, old-fashioned mountain music... This is a nice, straightforward twangfest, with a few loose nuts and bolts rattling around to keep things sounding real. The guitars owe a healthy debt to Tony Rice's bent-note style, but there's also an pleasantly aggressive rock'n'roll tinge to the proceedings, a spunkiness that's always nice to hear in an era when bluegrass seems to keep getting ever smoother and more perfect. Nice song selection, including a bunch of Cordle's original material, a fine version of Bob McDill's "I'm Not That Good At Goodbye," an interesting take on "Can't Let Go," (best known from Lucinda Williams' version) and even a song co-written by the great Melba Montgomery, who apparently is one of Cordle's buddies. All in all, a swell record, worth checking out if you're a fan of independently produced artists. (See also: Lonesome Standard Time, and check out his website: http://www.larrycordle.com.)

Larry Cordle & Lonesome Standard Time "Lonesome Skynyrd Time: A Bluegrass Tribute To Lynyrd Skynyrd" (CMH Records, 2004)
Gimmicky, but good. I'm not really that into the current trend towards novelty-oriented bluegrass covers of rock tunes, and I was never a huge Skynyrd fan, either, but I do think Larry Cordle is a great musician, and was actually a little surprised to see him making one of these records. The good news is -- it ain't bad! He makes the most out of these old Southern Rock classics, taking them seriously and not just playing them acoustic for laughs. Occasionally he sounds a bit too much like the Skynyrd originals (as on "Saturday Night Special") but for the most part, he takes these songs and makes 'em sound fresh and new. Sounds pretty good, really!

Country Cooking "14 Bluegrass Instrumentals" (Rounder Records, 1971) (LP)
A real all-star, landmark album for the new generation of '70s bluegrass innovators... This features banjoist Tony Trischka on his recording debut, along with Pete Wernick (also on banjo), guitarist Russ Barenberg, Harry Gilmore on mandolin and fiddler Kenny Kosek... This early Rounder release set the bar pretty high, and though short-lived, this band continued to deliver.

Country Cooking & Frank Wakefield "Frank Wakefield With Country Cooking" (Rounder Records, 1972) (LP)

Country Cooking "Barrel Of Fun" (Rounder Records, 1974) (LP)

Country Cooking "...With The Fiction Brothers" (Flying Fish Records, 1976) (LP)

Country Cooking "26 Bluegrass Instrumentals" (Rounder Records, 1988)
This digital-era reissue is an expanded version of their 1971 debut with twelve more tracks added... a real fling-ding!

The Country Gazette - see artist discography

The Country Gentlemen - see artist discography

Country Store "Country Store" (Rebel Records, 1974) (LP)
(Produced by Jack Casey & Country Store)
This short-lived though good-natured ensemble featured the talents of multi-instrumentalist Jimmy Gaudreau, along with guitarist Chris Steifel, banjo picker Dick Smith and bassist Bill Rawlings, who Gaudreau had worked with since the mid-'60s. The repertoire is full of easygoing covers of country and rock songs such as Buddy Holly's "Everyday," Merle Haggard's "White Line Fever," an early bluegrass cover of "Friend Of The Devil," and Gaudreau's jaunty (and dubiously copyrighted) mandolin update of Johnny Rivers' "Memphis." The guys share lead vocals, with Gaudreau singing lead on three tracks, and Steifel on about half. This is a laid-back, easygoing set, not the most sizzling or striking set ever, but personally I like mellow 'grass, and this is a sweet, simple '70s set. One thing I'm curious about, though: is Bill Rawlings related to Dave Rawlings? Anybody know for sure?

Cousin Emmy "Cousin Emmy & Her Kinfolks: 1939-1947" (Bear Family Records, 2007)
Folks who are interested in the early history of women in country music may want to check this one out... Cousin Emmy was a colorful performer who sang old-timey and sentimental songs, and who wrote one of the best-known songs in the bluegrass canon, "Ruby (Are You Mad At Your Man)," which is included here in a live, on-air version. The bulk of this disc comes from old radio airchecks, although tracks from a long-lost album are included as well. Minnie Pearl, eat your heart out!

John Cowan - see artist discography

The Cox Family "Everybody's Reaching Out For Someone" (Rounder Records, 1993)
Slick as they are, the Coxes are also quite soulful. This is a nice, solid set of country-drenched bluegrass vocal tunes, with a harmony style reminiscent of the Judds, or (by implication) the Dolly Parton/Emmylou Harris/Linda Ronstadt "Trio" albums. Good song selection, a nice mix of sacred and secular material, oldies by folks such as Bill Clifton, Jim & Jesse, and fine originals written by Sidney and Suzanne Cox. Recommended!

The Cox Family & Alison Krauss "I Know Who Holds Tomorrow" (Rounder Records, 1994)
An all-gospel album with Alison Krauss and The Cox family sounds like roots music manna from heaven... Still, I wish this had been a more traditional-sounding record... As it is, this is a bit over-orchestrated and Krauss-y. Guess they just couldn't help themselves. There are several very sweet numbers on here -- sublime, even -- but a lot of stuff that's pretty gooey and overripe as well. Hard to feel the Holy Spirit through all that molasses and corn syrup. Still, for those in the spirit, this could be mighty nice! (Also see my Alison Krauss discography.)

The Cox Family "Beyond The City" (Rounder Records, 1995)
The title refers to a trip out to the country, as in "country music," with the Coxes recording several obscure oldies originally waxed by the folks the like of Webb Pierce, Tanya Tucker and Ronnie Milsap, as well as a few originals by papa Sidney Cox. Ron Block, Rob Ickes, Dan Tyminski and others from the Union Station axis join producer Alison Krauss to give the disc a sleek, full sound. Overall, I found this to be a bit sleepy -- guess I prefer when they're more 'grassy -- but it's still pretty rich and packed with plenty o' sweet harmonies. Also includes a nice, demo-y version of "Broken Engagement" that an early Cox Family line-up recorded back in 1974(!) with a nice slice of twang to it. It's very cool to hear what they sounded 'way back then...!

The Cox Family "Just When We're Thinking It's Over" (Rounder Records, 1996)

Tommy Crank "Sings Bluegrass Mountain Gospel" (Pine Tree Records, 1975) (LP)
(Produced by Ray Hensley)
Rough-edged, deeply authentic bluegrass music with a truly striking, distinctive sound. Trenton, Ohio's Tommy Crank wrote all the songs on this album, with several co-written by Carl Kinder, and one with Syndia Norvell. He's got an all-local band as well: Bruce Andrew and Bill Lyon on banjo, Ray Hall (fiddle), Bob McNeely (flattop guitar) and Eugene Turner (bass), Reggie Wallace (dobro), and Chuck Walton on mandolin. They provide solid, lively, true-twang backup in the high lonesome style of Ralph Stanley's Clinch Mountain Boys, while emphatic, unruly Crank's vocals are feral and foreboding -- the bluegrass equivalent, perhaps, of Howlin' Wolf or Hasil Adkins. Crank's raspy, explosive delivery is really quite striking, a remnant of mountain music's primeval past, or the Alfred Karnes school of white gospel singing, bristling with a rock'n'roll-ish restlessness. Certainly worth a spin if you've ever thought, oh, all modern bluegrass sounds the same, all slick and melodic...

Tommy Crank "Best Bluegrass Gospel" (Pine Tree Records, 1976) (LP)
(Produced by Tommy Crank & William M. Jones)
Where his first album was all originals, this one is mostly cover songs. It includes an original by Hattie Crank, "Weighed In The Balance," along with songs from the Carter Family, George Jones and Bill Monroe... He's working with a completely different band this time: The Gospel Mountaineers included Vernon Bowling (mandolin), Ernest Wells (banjo), Ralph Murphy (fiddle), Alvin Ison (dobro), Jeff Morgan (bass), and Joe Isaacs (from the Isaacs family gospel band) on flattop guitar, with Lily Isaacs adding some harmony vocals.

Dan Crary -- see artist discography

Mike Craver "Shining Down" (Sapsucker Records, 2002)
This set of idiosyncratic, inventive, antique-sounding piano-based songs is hardly what you'd call "bluegrass," but since Craver was a founding member of the Red Clay Ramblers, one of my enduring favorites of the hippie-era bluegrass scene, I think it's worth bringing to your attention. The songs do share a certain Gilded Age feel in common with country's old-timey roots, but this is more of a play on the bygone traditions of music-hall and vaudeville performers, bringing to mind early Randy Newman, or the later work of Great Britain's Ian Whitcomb. The songs are about showbiz, World War I, goofs on old themes such as disaster ballads or vintage Hawaiiana (for example, the tongue-twisting "That Wicky Wacky Hula Hula Honka Wonka Honolulu Hawaiian Honey Of Mine...") Many of these tunes were drawn from theatre pieces Craver has worked on over the years, distinctly separate projects, but the album holds together with Carver's unique, wry sense of humor. Longtime fans will want to check this out, to hear what carver's been up to in the last few years. [Check out Mike Craver's website for more information about his post-Ramblers career...]

Rufus Crisp "Rufus Crisp" (Smithsonian Folkways, 1972) (LP)
(Produced by Stuart Jamieson & Margot Mayo)
Archival recordings from Kentucky-born clawhammer banjo player Rufus Crisp (1880-1956) whose 1946 Library of Congress recordings (reissued here) made big waves in the nascent New York City folk scene... Apparently Pete Seeger met him way back in 1940 and credits Mr. Crisp with helping him learn the frailing technique on banjo. Pretty cool, huh?

The Crooked Jades - see artist profile

Crooked Still "Shaken By A Low Sound" (Signature Sound Records, 2006)

Crooked Still "Hop High" (Signature Sound Records, 2007)

Crooked Still "Still Crooked" (Signature Sound Records, 2008)
(Produced by Eric Merrill)
This Boston-based acoustic ensemble has perfected its sound, a dark but not dour Gothic update of the old-timey Appalachian stringband music, delivered with a subtle sheen of classical and art-song influences; sort of like Ralph Stanley as interpreted by This Mortal Coil, but with firmer roots in traditional bluegrass than that formula might imply. At any rate, this is a very accomplished album, smoother, more focussed and less ostentatiously "bent" than many modern old-time revivalist bands. Lead vocalist Aoife O'Donovan is the guiding force on this album -- although all the musicians give strong contributions, she provides the band's focus and its driving aesthetic, as she intones and croons, steering listeners into dark, moody lyrical corners. Nonstandard arrangements also add to the band's unique sound, particularly with a cello helping fill in the soundscape (with newcomer Tristan Clarridge replacing founding member Rushad Eggleston in that role...) Music fans of many stripes will be struck by this album; folk, bluegrass and freak-folk fans alike will flock to this band's banner. Some more traditionalist country lovers may find them a bit arty, but they're certainly worth checking out. Recommended.

Crooked Still "Some Strange Country" (Signature Sound Records, 2010)

The Crowe Brothers "Jesus Is Coming" (King Records)

The Crowe Brothers "The Winds Are Blowing In Maggie Valley" (King Records)

The Crowe Brothers "The Gospel Way" (Copper Creek Records, 1997)

The Crowe Brothers "Regenesis" (Rural Rhythm Records, 1999)

The Crowe Brothers "Brothers'N'Harmony" (Rural Rhythm Records, 2008)
(Produced by Josh Crowe & Steve Thomas)
A nice, old-fashioned bluegrass harmony set from brothers Josh and Wayne Crowe, veterans of Raymond Fairchild's old band, whose unaffected duets harken back to the work of classic '50s acts such as Jim & Jesse or the Louvin Brothers. This disc isn't anchored in flashy, high-powered picking -- indeed, the musicianship has a choppy, occasionally awkward quality that some (myself included) might say is a blessing in this era of the too-perfectly produced bluegrass record. In contrast, these guys sound like earnest enthusiasts, the kind of folks you'd love to hear singing an informal set at a music festival tailgate party. The song selection is flawless, a delicious series of oldies and heartfelt gospel tunes, including a couple of Reno & Smiley classics, and some originals from Josh Crowe that are quite nice. If you like the old-school bluegrass of the 1950s golden era, where sentiment mixed with sizzle, you'll definitely want to check this one out -- it turned out to be a dark horse favorite around our household!

J. D. Crowe -- see artist discography

Crystal Creek "Rock Salt And Nails" (1975) (LP)

Crystal Creek "Linin' Track" (1978) (LP)
(Produced by Jim Booth, Craig Melvin & George Oppegard)

Cumberland Highlanders "Cumberland Mountain Home" (Black Mountain Records, 2000)
Nice, straightforward Stanley Brothers/Bill Monroe-style high lonesome truegrass. Solid picking and wispy old-timer vocals that sound like pure, unadulterated Kentucky. Apparently these folks have their own TV show, extolling the virtues of good old-fashioned mountain music... and with several veterans of Bill Monroe's Blue Grass Boys (and various other bluegrass bands), the Highlanders definitely have the chops to back it up. Dr. Ralph Stanley makes a guest appearance as well... How's that for authenticity?? Nice stuff! (The band's website can be found at: www.cumberlandhighlanders.com.)

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Hick Music Index

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