Yo-Yo Ma/Stuart Duncan/Edgar Meyer/Chris Thile "The Goat Rodeo Sessions" (Sony Masterworks, 2011)

Kate MacKenzie "Let Them Talk" (Red House Records, 1994)

Kate MacKenzie "Age Of Innocence" (Red House Records, 1996)

Natalie MacMaster "Blueprint" (Rounder Records, 2003)
A sweeping, masterful fiddle album, ranging from tightly interlocked reels to slower, more moody aires. Bela Fleck, Jerry Douglas and others from the Rounder stable of "usual suspect" superpickers chime in on various tracks. A nice, solid set, mixing Celtic-derived Canadian with a variety of styles and moods.

Natalie MacMaster "Yours Truly" (Rounder Records, 2006)
Canadian fiddle whiz Natalie MacMaster is as technically dazzling as ever, although the popped-up arrangements that define this album aren't really my cup of tea... A nice mix of Celtic-based and bluegrassy/newgrassy styles, mixed with a heavy backbeat and some super-slick chord progressions... Most of the songs are McMaster originals, although she still finds time to saw through a medley of raw-sounding Strathspey reels and other traditional material that reflects her Cape Breton roots... McMaster's fans will dig this one.

LeRoy Mack "LeRoy Mack & Friends" (Rebel Records, 1996)
A fine set of earthy-sounding, old-fashioned heartsongs and oldies, featuring with the aura of the Country Gentlemen and Jimmie Rodgers hovering above. Mack's flawless, soulful dobro anchors this album, as do his genial old-man vocals. This former member of the Kentucky Colonels has a wonderfully relaxed, enthusiastic air about him... and man, can he pick! Great song selection, with perfect pickin' throughout.

LeRoy Mack "Hounddog Ramble" (Sierra Briar/LeRoy Mack Music, 1996) (LP)
A slam-bang instrumental set with a real sweet side to it... Lots of great guest pickers, and inventive, playful tunes. Fun stuff! This record, like many of Mack's recent releases, can be found through his personal website, http://www.leroymack.com.

LeRoy Mack & Jerusalem Ridge "Together" (Jerusalem Ridge Records, 2001)
Teaming up with this fine, traditionally oriented Canadian truegrass band, Mack shines in an understated support role. They all seem to be having a fun time, throwing themselves cheerfully into this sweet set of melodically-oriented material. Might be hard to track down outside of the band's website, but if you find it, you'll be pleased.

LeRoy Mack "Smiles And Tears" (LeRoy Mack Music, 2003)
A cheerful, informal set, alternating between goofball comedy numbers ("A Matter Of Policy," "Praying Mantis Love Affair," "I Just Don't Look Good Naked Anymore," etc...) and those staples of old-time music, the maudlin tragedy song, with school bus crashes and daddies in jail galore. Some nice instrumental numbers, as well. The songs are a lot of fun, and the musical end, including Mack's smoky vocals, is all top-notch. Chris Hillman and Herb Pederson pitch in, and of course they are completely on the same wavelength as Mr. Mack is, when it comes to the good old stuff... Recommended!

Rose Maddox "Rose Maddox Sings Bluegrass" (Capitol Records, 1962/1996)
Rambunctious, irrepressible West Coast country pioneer Rose Maddox is best known as a proto-rockabilly singer, but this bluegrass outing was an interesting change of pace. Even though his name didn't show up on the credits, Bill Monroe was the leader of the band on these solid sessions, and the band (which also included Reno & Smiley along with Tommy Jackson) sizzles! Rose was never exactly an old-timey musician, but she fits right in with Monroe's style, even sounding a bit Loretta Lynn-like at times. A great mix of classic secular and gospel material, and far more vigorous than most Nashville efforts to do "bluegrass" albums with country singers. An unusual outing, but well worth tracking down.

Rose Maddox & The Vern Williams Band "This Is Rose Maddox" (Arhoolie Records, 1980)
In the early 1980s Rose Maddox, a founding member of the West Coast country scene, an artist who in the 'Forties had pioneered the rollicking riotousness of rockabilly and helped define the bouncy, buoyant sound of California country, was still plugging away and playing local gigs up and down the state... After many years away from the studio she teamed up with the highly regarded Vern Williams bluegrass band for a couple of records that put her back on the map. This first album, a mostly-secular set packed with golden oldies such as "Dark As A Dungeon," "Ashes Of Love," "Silver Threads And Golden Needles" and "Single Girl," is a real doozy. The picking is fine but it's the authority and conviction with which Maddox sings that really makes this set hum. She is a masterful stylist, bringing each song to life so that listeners are completely drawn it. She had a great set of pipes, too -- a powerful performer in her fifth decade of country musicmaking. For some bluegrass fans -- and folks who dig her crazy-sounding old stuff -- this may be a bit low-key, but others will be entranced. Definitely worth checking out.

J. E. Mainer's Mountaineers "The Golden Age Of J. E. Mainer's Mountaineers" (Binge Disc, 2000)
If you thought ol' Bill Monroe sounded rough and rowdy back when he started the bluegrass sound way back when, then you gotta check these guys out! Mainer and his family enjoyed a healthy career revival in the 1960s and '70s as the old-timey folk scene unearthed them... Their latter day recordings were all quite nice, but this collection of material from the 1930s and '40s is flat out awesome. When they play fast, there's no one more clattersome and rambunctious, and when they play slow and sentimental, few folks are more hearfelt. For fans of squeeky, scraping fiddles and grizzled old-man vocals, this is the disc to check out.

Raul Malo/Pat Flynn/Rob Ickes/Dave Pomeroy "The Nashville Acoustic Sessions" (CMH Records, 2004)
A nice, relaxed set, featuring country crooner Raul Malo (of The Mavericks), along with fusiongrass studio cats Rob Ickes (best known for his work with Alison Krauss), Pat Flynn (of Newgrass Revival) and bassist Dave Pomeroy, all longtime veterans of the Nashville studio scene. Here they indulge a passion for the simpler side of the country-folk tradition. Malo's mellow vocals on the album's opener, a sweet version of "Blue Bayou," is an album highlight. It's also a pleasant surprise to hear versions of two Louvin Brothers oldies, "When I Stop Dreaming" and "Great Atomic Power," and even a lazy version of "Moon River" as well as Van Morrison's "Bright Side Of The Road." In places, they overplay their hand -- Ickes' dobro work is mixed too hot throughout much of the album, and Malo goes a little overboard on the Gram Parsons white soul weeper, "Hot Burrito #2." Overall, though, this is a warm. Welcoming album that listeners in search of a softer sound will probably enjoy... Mavericks fans, in particular, will appreciate the chance to hear Malo back in a more mellow setting.

The Marshall Family "The Legendary Marshall Family, v.1" (Rebel Records, 2002)
Two fine sets of good, old-fashioned bluegrass gospel tunes, with bright, cheerful vocal and instrumental performances and a simple, joyous set of songs. Each of these discs collects tracks drawn from several of the Marshall Family albums of the 1970s, when the group was still a working, touring truegrass band. There are a few guest appearances -- a young Ricky Skaggs joining in some sweet a capella quartet vocals, for example -- but mostly it's the family itself, presenting this music in as simple and sincere a light as possible. It's great stuff. Later, after the family act disbanded, various members moved into the equally under-the-radar Southern Gospel scene, either as songwriters or as members of up-and-coming bands such as The Isaacs (who praise the Marshalls in the liner notes of Volume 2, and cite them as early influences). Folks of a more secular bent who still appreciate certain strains of bluegrass gospel, the kinds that have a buoyant, optimistic feel, may find these albums quite enjoyable. I liked 'em!

The Marshall Family "The Legendary Marshall Family, v.2" (Rebel Records, 2004)

Mike Marshall - see artist discography

Benny Martin -- see artist discography

Jimmy Martin -- see artist discography

Mac Martin & The Dixie Travelers "Dixie Bound" (County, 1974) (LP)
(Produced by Dave Freeman)
A sizzling set of super-twangy, hardcore truegrass, with particularly hot banjo and mandolin. Nice vocal harmonies and a driving momentum. Mac Martin was a WWII vet who started his career in the early 1950s, and seems to have particularly imprinted on the uptempo style of Flatt & Scruggs. If you like your bluegrass pure and old-school, this is some really good stuff!

Steve Martin - see artist discography

The Masters "Laid Back" (Pinecastle Records, 1997)
Four talented old-timers -- Eddie Adcock (on banjo), Kenny Baker (fiddle), Josh Graves (dobro) and Jesse McReynolds (mandolin) -- get together and show the young'uns how it's done...

Dwight McCall "Never Say Never Again" (Rural Rhythm, 2007)
Rock-solid "high lonesome" truegrass with a strong mix of secular and gospel material, and a surprisingly high proportion of newer, contemporary songs, including three fine originals by McCall himself. The son of former Stoney Mountain Boy Jim McCall, Dwight has recently been blazing a path as one of bluegrass music's new hot properties, singing lead and banging on the mandolin in J.D. Crowe's New South... Here, he cedes much of the mandolin work to veteran old-timer Alan Bibey, and concentrates on the vocals... McCall not only sings a fine, soulful lead, but (through the magic of multitracking) throws some warm baritone and tenor harmonies on top of his own voice... The result is surprisingly rich and organic sounding, adding a subtle one-two punch to an already strong album. Nice to see the folks at Rural Rhythm branching out into contemporary recordings... And if this disc is any indication, more great music ought to be headed our way soon!

McCamy's Melody Sheiks "There's More Pretty Girls Than One" (Arhoolie Records, 2011)
(Produced by Ian McCamy)
Folks who like idiosyncratic, creaky old-timey melodies, squeaky violins and geezerly vocals will find a lot to cheer about in this loopy, eclectic band. Anchored by fiddler Ian McCamy -- an American expat living in France -- the Melody Sheiks also features cartoonist Robert Crumb, who is renowned in old-timey circles as an uber-collector of rare 78s, and has helped McCamy explore various styles of antique music from the dawn of the recording era. In previous collaborations such as Les Primitifs Du Futur, they've jammed on French musette, and here they plow into ragged, rootsy American mountain music with a hint of jug band blues. It's fun stuff, unruly and odd, as it ought to be, and should appeal to fans of Crumb's old compatriots, the Cheap Suit Serenaders. Give her a whirl!

The McCormick Brothers "The Very Best Of" (Varese Sarabande, 2002)
WOW. This dazzling set of high-test '50s bluegrass oldies comes from the recently-opened vaults of Wesley Rose's indie label, Hickory Records... Traditionally-minded bluegrassers should go ga-ga over a stellar collection of material by the McCormick Brothers -- top-flight, mile-a-minute, drag-racing superpickers whose 1950s recordings are as good as mountain music gets. These tunes have been out of circulation for ages, but with this one little CD, the stringband pantheon will have to open up some elbow room next to Bill, Ralph, Lester and Earl. A strong country/heartsong streak as well, which suits me just fine. Highly recommended!

The McCormick Brothers "Hot Bluegrass Rhythm (Plus Rockabilly)" (Binge Disc/Bronco Buster)

The McCormick Brothers "Somewhere In Time" (Stonewall Records, 2009)

Del McCoury -- see artist discography

Ronnie & Rob McCoury "Ronnie & Rob McCoury" (Rounder Records, 1995)
The solo "debut" of Ronnie and Robbie, the mandolin pickin' and banjo-plunkin' progeny of truegrass elder, Del McCoury. Of course, these young'uns are long-seasoned performers, having played for years in their dad's band, but it's nice to hear the younger generation setting out on their own. Basically, this is a nice strong album, solidly rooted in tradition and full of good-natured, cheerful old-time twang. Some songs, particularly a few instrumentals, lack the drive and intensity of Del's best work, but even if these fellas sometimes sound more like the Osborne Brothers than their old man, that's still mighty fine company to keep.

Ronnie McCoury "Heartbreak Town" (Rounder Records, 2000)
Not straying far from the path laid down by his dad, Ronnie McCoury -- along with brother Rob, bassist Mike Bub, fiddlers Jason Carter and Stuart Duncan, guest pickers Bela Fleck, Jerry Douglas and David Grisman, as well as Papa Del -- has definitely got the real goods, and that true, blue high lonesome sound. Nice choice of material as well, including a Hoyt Axton tune, one by John Hartford's son, Jamie Hartford, and a slew of amazingly well-written originals. A relaxed, low-key album, but also a dazzler.

Ronnie McCoury "Little Mo' McCoury" (McCoury Music Records, 2008)

John McEuen - see artist discography

Sam McGee & Kirk McGee "Pillars Of The Grand Ole Opry" (Guest Star Records, 1964) (LP)
Hillbilly old-timers who became darlings of the folk revival and reissue mavens, in their youth during the Great Depression, the McGees worked with legendary country performers such as Uncle Dave Macon and Arthur Smith. They made their first recordings back in the 1930s, and were still plugging away three decades later, including a slot on the Grand Ole Opry which they held until 1974. Sam McGee (1894-1975) died in a farming accident, with Kirk McGee (1899-1983) continuing to perform solo right up until he passed away a few years later.

Roger McGuinn "Treasures From The Folk Den" (Appleseed Records, 2001)
Roger McGuinn had a twelve-string guitar, it was like nothing you'd ever heard... He still does, in fact, although these days he just as likely to be playing a six-string or a banjo, even singing a capella... This is a delightful, relaxed new album with the ex-Byrd and folk-rock pioneer sounding remarkably undiminished as he ambles through numerous traditional folk ditties, aided and abetted by an all-star cast including fellow old-timers Judy Collins, Jean Ritchie, Tommy Makem, Josh White and Pete Seeger, as well as super-talented UK newcomer Eliza Carthy. A lot of the songs are fairly obscure (recalling that charming '60s penchant for folkloric prowess as competitive display...) and the McGuinn versions are all pretty nice. This old feller sure knows how to tell a tale! Worth checking out!

Larry McNeely - see artist discography

The McPeak Brothers "Bluegrass At Its Peak" (RCA Victor, 1974) (LP)
A nice solid bluegrass set, following very much in the style set by the Osborne Brothers -- close, low harmonies and mighty fine picking. A good, down-to-earth album and well worth searching for. It kicks off with a contemporary-themed, "with it" tune, Bobby Abshire's "Somebody Socked It To Mine," but quickly turns to a more traditional bent, with songs from the Carter Family, a cover of "Rocky Top," and one nice original, "Humble Man," written by Larry McPeak.

The McPeak Brothers "The McPeak Brothers" (County Records, 1977) (LP)

The McPeak Brothers "Bend In The River" (County Records, 1978) (LP)

The McPeak Brothers "Makin' Tracks" (County Records, 1983) (LP)

The McPeak Brothers "Classic Bluegrass" (Rebel Records, 1992)

The McPeak Brothers "Pathway To Heaven" (Copper Creek Records, 1996)

The McPeak Brothers "The Bottom Line" (Copper Creek Records, 1998)

The McPeak Brothers "Yesteryears: The Best Of The McPeak Brothers" (Rebel Records, 2011)
A sweet set of folk-tinged "progressive bluegrass," with a strong, clear influence from the sound of the Country Gentlemen; lots of familiar chord progressions and vocal arrangements. Nice stuff culled from three albums this Virginian trio recorded for Rebel and County Records between 1977-83, including some nice session work from the up-and-coming dobro whiz, Jerry Douglas... If you like the style, this is a great introduction to this well-regarded but little-remembered family band.

Larry McPeak "There Is Always A Calm" (Fat Dog Records, 2001)
(Produced by Larry McPeak & Tim White)
A nice, understated bluegrass gospel album featuring Larry McPeak, formerly a teen prodigy in the McPeak brothers band. His old-man vocals and bedrock religious message may be a bit off-putting to the more modern, secular-oriented bluegrass fan, yet this is a richly textured and rewarding album... The band includes Scott Freeman on mandolin, Tim White on banjo, fiddler Billy Hawks, and guitarist Mack Puckett, as well as Mike McPeak on a tune or two, and special guests Janette Carter and Tom T. Hall on the album's closing track, "We Still Have Forever To Go." Sweet stuff - definitely worth checking out!

Curtis McPeake "The View From McPeake" (Swift River Music, 2000)
(Produced by Andy May)
A swell set of bluegrass instrumentals, featuring lead banjo by veteran picker Curtis McPeake, known for his '60s session work with the likes of George Jones, Melba Montgomery, Wilma Lee & Stoney Cooper, Bill Monroe and for his years as a member of Danny Davis's Nashville Brass. Joining him are fiddler Aubrey Haynie, David Harvey on mandolin, Dennis Crouch on bass and Charlie Cushman guitar. No big surprises, but plenty of fine work from McPeake on the 5-string banjo... A nice showcase for his work!

Jesse McReynolds "Me And My Fiddle" (Gusto Records, 1968)

Jesse McReynolds & Bobby Osborne "Masters Of The Mandolin" (Pinecastle Records, 2001)

Jesse McReynolds "New Horizons" (Pinecastle Records, 2004)
As the title implies, this disc is a reaffirmation of new life and artistic effort for bluegrass elder Jesse McReynolds, whose brother and longtime musical partner Jim McReynolds passed away in December, 2002... With backup by the likes of Weldon Myrick, Bobby Hicks and Charles Whitstein (who adds some mighty fine harmonies!), McReynolds has produced a fine, surprisingly fresh new album, including a particularly nice version of "Faded Love," and another old weeper called "Take Me Back In Your Heart." John Prine joins in on a fine version of his coal-mining elegy, "Paradise," which takes on a new resonance in the hands of an Appalachian native like McReynolds. The album starts out with several songs that include warm harmonies and ensemble work; later on Jesse sings more stuff solo, and the music slows down quite a bit... But overall, this is a pretty cool release, coming from an old-timer who's still got a lot of soul to spread around. Worth checking out.

Jesse McReynolds "Bending The Rules" (OMS Records, 2004)

Jesse McReynolds & Charles Whitstein "A Tribute To Brother Duets" (Pinecastle Records, 2005)
Highly recommended. An elegant, emotionally resonant tribute to the classic "brother harmony" sound that stretched from Depression-era troubadours like the Monroe Brothers and the Blue Sky Boys on up through classic 'Fifties artists such as the Louvin Brothers and Jim & Jesse (the fabulous duo of whom Jesse McReynolds was a member) and even rock-pop singers like the Everly Brothers and folk-country acts like the Wilburns... Charles Whitstein is a great revivalist of the "brother act" style, and while he started out as a young'un who was eventually taken under the wings of some of the elders, by now he's fairly long in the tooth himself, and he matches McReynolds beat for beat with the deep, world-wise old-man mournfulness that makes this album so great. Many of these songs were originally played at a much faster clip, but old-timers like McReynolds and Whitstein are in no hurry to get anywhere, and their laid-back, low-intensity approach is in some ways similar to the later recordings of Louis Armstrong: master musicians whose power now lies in their calmness, rather than in the slam-bang showmanship of their youth. This really is quite a nice album; if you like old-fashioned bluegrass and sentimental stringband music, you should check this out... You won't regret it!

Jesse McReynolds "Dixie Road" (Lamon Records, 2007)

Jesse McReynolds "Songs Of The Grateful Dead" (Woodstock Records, 2010)
One of the last living lions of the golden age of bluegrass, Jesse McReynolds was half of the brother duo of Jim & Jesse, and one of the finest and most distinctive mandolinists of the 1950s... Here, he brings his bluegrass-folkie roots full circle, paying homage to the Grateful Dead, a hippie band led by guitarist Jerry Garcia, who is said to have been a big Jim & Jesse fan himself, back in his jug-band days. Backing McReynolds are some old hippies -- friends of Jerry -- and the vibe is pretty loose; there may be a bit of a stylistic mismatch, but it's an interesting effort from an old-timer like McReynolds... And, boy, look at how much have the Dead worked their way into the roots music mainstream! What a trip, man.

Michael Melford "Mandolin Fantasy" (Flying Fish Records, 1976) (LP)

Jim Mills "Bound To Ride" (Sugar Hill Records, 1998)

Jim Mills "My Dixie Home" (Sugar Hill Records, 2002)
A straightforward, melodic, all-traditional album by Ricky Skaggs' banjo picker, with nice vocal contributions from Skaggs (on the title track), Tim O'Brien, Dan Tyminski and Paul Brewster. It's nice to hear Mills lift himself out of Skaggs' oft-times, overly slick crossover style and simply bang out a pure-sounding truegrass album. This doesn't send shivers down my spine the way an old Stanley Brothers song might, but it's still pretty darn good.

Jim Mills "Hide Head Blues" (Sugar Hill Records, 2005)

Bruce Molsky & Bob Carlin "Take Me As I Am" (1990)

Bruce Molsky "Lost Boy" (Rounder Records, 1996)

Bruce Molsky "... And Big Hoedown" (Rounder Records, 1997)
Fiddler and banjo picker Bruce Molsky may be the preeminent old-time musician of his generation -- he's certainly one of the most highly regarded, and his fab albums on Rounder will show you why. Working here with a feisty trio, Molsky perfectly captures the raspy, bouncy playfulness of old-timey music. His song selection is all first rate, and the record is captivating from beginning to end. Highly recommended.

Bruce Molsky "Poor Man's Troubles" (Rounder Records, 2000)
Another wonderful album. Here, Molsky takes some of the twang out, replacing it with a sorrowful drone, akin to some of Norman Blake's best stuff. The song selection is uniformly great, and the playing -- with high-powered assistance by the likes of Darol Anger, Martin Hayes and Dudley Connell -- is first-rate. Smooth, captivatingly melodic and accessible, but undeniably and richly authentic. Recommended!

Bruce Molsky/Michael Doucet/Darol Anger/Rushad Eggleston "Fiddlers 4" (Compass Records, 2002)
Molsky's old-timey fiddling rubs up against the eclectic bowings of cajun music legend Michael Doucet, spacegrasser Darol Anger and classical wunderkind Rushad Eggleston... It's a pretty classy crossover operation, which glides from style to style. The sugary excesses of newgrass fusion and the raspy clatter of the old-timey are both toned down a bit, and this disc is nice and listenable from beginning to end. A fiddle fan's dream.

Bruce Molsky "Contented Must Be" (Rounder Records, 2004)
Traveling from triumph to triumph, Molsky has come out with yet another that fans must laud as the best one ever. This time around the talented multi-instrumentalist mainly sticks to the fiddle (for twelve songs out of seventeen), and plunks and picks some mighty fine banjo and guitar on the other five tracks. The material is all old-time stuff gathered by folklorists of years gone by, and able acoustic accompaniment is provided by Darol Anger, Dudley Connell and others, including Irish-American icon Mick Moloney (veteran of numerous top-flight Celtic bands.) Retaining the antiquated rasp of authentic American mountain music, while introducing a compelling melodic sweetness, Molsky has once again set the standard for the genre. Highly recommended!

Bruce Molsky "Soon Be Time" (Compass Records, 2006)
Fiddler/guitarist/banjo plunker Bruce Molsky is one of Americana's finest "old-timey" musicians, fully in command of the style's history and repertoire, and gifted with an immensely charismatic presence... On this disc, his sound has notably softened, moving away from the uncompromising traditionalism that so many favor in the old time scene into a more fluid, tranquil tone. There's a lot more "give" to his performance, and thus a lot more soul. From start to finish, this is a lovely album, one that will compel repeat auditions. The material ranges from backwoods standards learned from elders such as Ed Haley, Sam McGee and Tommy Jarrell to Scandanavian and Slavic folk, and a bit of the Delta blues... There's only one Molsky original on here, and yet he manages to make all these tunes utterly his own. Another mighty fine album.

Bill Monroe -- see artist discography

The Monroe Brothers -- see artist discography

Monroe Crossing "Across The Blue Mountains" (Monroe Crossing Records, 2001)

Monroe Crossing "Then Sings My Soul" (Monroe Crossing Records, 2002)
(Available through the band's website)

Monroe Crossing "The Green Mossy Ground" (Monroe Crossing Records, 2003)

Monroe Crossing "On The Road" (Monroe Crossing Records, 2004)

Monroe Crossing "Somebody Like You" (Monroe Crossing Records, 2005)

Monroe Crossing "The Happy Holidays" (Monroe Crossing Records, 2005)

Monroe Crossing "Into The Fire" (Monroe Crossing Records, 2006)

Monroe Crossing "Live From Silver Dollar City" (Monroe Crossing Records, 2007)
(Produced by Monroe Crossing)
A nice, laid-back live album from this down-home Minnesota bluegrass crew... This is a jes'-plain-folks, back-porch kind of affair, perfect for fans that like the way acoustic instruments sound, but tune out when it all sounds a bit too slick. Monroe Crossing have put out a bunch of albums on their own, but they're still pretty much those neighbors of yours who got a little carried away with the whole festival thing, and started doing the bluegrass band full-time. You go to all their shows and hoot and holler, both because it's fun and also because you like seeing normal folks like yourself up there onstage. I like the repertoire: these folks tilt towards the Jimmy Martin wing of old-school bluegrass, mixing country tunes like "Crazy," "Oh Lonesome Me" and Dolly Parton's "Jolene" in, along with truegrass oldies from Jim & Jesse, Jimmy Martin and -- of course -- good ol' Bill Monroe. There's a smidge of gospel and, by my count, just one original tune, "The Atlanta Church," written by bassist Mark Anderson. Monroe Crossing aren't super-hotshot pickers or an ultra-professional all-star juggernaut, but that's a big part of their appeal: they are enthusiastic and full of pep, and about as down to earth as a bluegrass band can get. If that's the kind of music you like to hear, this album will be a breath of fresh air.

Moonglow "Moonglow" (Zephyr Records, 2008)
A bluegrass/western swing mashup, with covers of Depression-era jazz standards, western swing oldies and various sentimental oldies, ranging from "The Sheik Of Araby," "Embraceable You," and Honeysuckle Rose" to more country-oriented material such as "Miles Of Texas" and Bill Boyd's "Wahoo." The main trio includes guitarist Jerry Ashford, bassist Beth McNamara and mandolin picker Joe Ross (who is also an avid bluegrass fan and music journalist) as well as fiddler Tim Crouch, who is an able accompanist, along with some steel guitar from Todd Clinesmith. There have been more electrifying string-swing ensembles, but these Oregonians certainly have their hearts in the right place, as attested to by all the Gershwin-y goodness within... Worth a spin, if you're a fan of oldies from the prewar era.

The Moore Brothers "Writing A Song To You" (King Bluegrass Records, 1976-?) (LP)
(Produced by Robert Trout & Cecil Jones)
Kentucky-born fiddler Ray Moore and mandolin picker Canton Moore zing through a nice, no-nonsense high lonesome set peppered with sweet gospel numbers, a Carter Family oldie and several tunes written by Ray Moore. They're backed by lead singer/guitar picker Kenny DeMarcus, Jim Cornell on banjo and Ray's son, Roger Moore on bass. Nice stuff, a little rough around the edges, but in a good way.

Russell Moore & IIIrd Tyme Out "Russell Moore & IIIrd Tyme Out" (Rural Rhythm Records, 2009)

Russell Moore & IIIrd Tyme Out "Prime Tyme" (Rural Rhythm Records, 2011)
(Produced by Russell Moore & IIIrd Tyme Out)
A beautiful set of tradition-oriented, contemporary bluegrass, featuring lead vocals by Russell Moore -- who gets top billing now, I guess, since he is the only founding member currently in the band. These guys have a lot of great music and great records already under their belts, and this disc will surely stand out as a highlight in their discography. Great stuff from beginning to end, and with a wide variety of styles, and several standout tracks. "Whipporwill" features an evocative, persistent refrain that echoed around in my head for days, while "Dusty" has the feel of the best early-'70s progressive 'grass. Plenty of straight-ahead picking, as well, including a nice cover of the "Sugarfoot Rag," and a number of songs dedicated to working-class families: the ennobling "Old Kentucky Farmers," the more pointed "Hooverville," and the gospel-tinged "What's The World Coming To," which closes the album. This is a melodically strong, harmonically rich truegrass collection, perfect for repeat listens for years to come. Recommended!

The Morgan Brothers "Mixing It Up Good" (Appleton Records, 1974) (LP)
(Produced by The Morgan Brothers)
Things were not what they seemed with the so-called Morgan Brothers, who were not Morgans, nor all three related. The trio hailed from Appleton, Wisconsin (near Oshkosh), where brothers Don Stiernberg and John Stiernberg (mandolin picker and banjo plunker, respectively) owned a music store... While at Ripon College, John met guitarist John Parrott, who was a transplant from New York. They formed a trio and delved into bluegrass music, though with an eclectic range seen in this scrappy set of traditional bluegrass tunes (stuff by Jim Eanes, Jimmy Martin and the Easter Brothers) augmented by a bunch of 'grassed-up cover tunes, songs by Dan Hicks, Bob Dylan, Hank Williams, folkie Eric von Schmidt, Kurt Weill(!) and the Rolling Stones. If you're up for an evening with a twangy "Mack The Knife" alongside "As Tears Go By," this Midwestern trio might be for you. The one original song on here is called "Blue Missouri Sky," written by John Parrott, though he wasn't a Midwesterner. The band had a musical philosophy they called "pro grass," which meant they indulged in a diverse range of styles, but didn't necessarily bent non-bluegrass material into traditional-sounding styles -- just using the acoustic instruments was enough; they also prided themselves on not taking on made-up Southern accents or singing all twangy, but keeping their own Northern intonations.

The Morgan Brothers "Northern Lights" (Blue Ridge Productions, 1976) (LP)

Lynn Morris -- see artist discography

Mountain Heart "Mountain Heart" (Doobie Shea Records, 1999)
Dan Tyminski co-produced this nice, fairly traditional set, which is packed with solid, (if slightly too-perfect) picking, soft-edged heartsongs, and a few slower, goopier crossover ballads. For the most part they play things pretty straight, and though it never really catches fire, for modern stuff this ain't bad. A bit on the safe side.

Mountain Heart "The Journey" (Doobie Shea Records, 2001)

Mountain Heart "No Other Way" (Skaggs Family Records, 2002)
(Produced by Ricky Skaggs)
I guess I'm just not all that wild about the perfectionist-modernist aesthetic that Ricky Skaggs envisions as the future of bluegrass... This Skaggs-produced album is okay -- inoffensive, really -- but it's just too sleek and streamlined for me, too flawlessly produced and studio-sounding. I suspect a lot of in-studio tweaking and multi-tracking went on behind the scenes, and while I realize this is the way all records are made these days, I still think it usually doesn't feel right for mountain music. I'm sure that most anyone who likes Alison Krauss and Bela Fleck will enjoy this disc a lot; it didn't move me, though.

Mountain Heart "Force Of Nature" (Skaggs Family Records, 2004)
High-concept modern bluegrass with the picking kept on the mellow side, and lyrics up in the clouds. Includes several topical tunes, such as the domestic violence song, "Another Day," which takes the same violent revenge fantasy direction as the Dixie Chicks hit, "Goodbye, Earl," and the forlorn "Life She's Chosen," a somewhat condescending song about a woman who's become a housewife, rather than having a "real" career. Mostly, these guys are still too cerebral for me, although the musical end isn't as goopy as these things sometimes can be. Nice, straightforward gospel tune at the end of the disc, though!

Mountain Heart "Wide Open" (Skaggs Family Records, 2006)

Mountain Heart "FestivaLink Presents: Mountain Heart At Grey Fox 7/15/06" (FestivaLink, 2006)

Mountain Heart "Road That Never Ends: The Live Album" (Rural Route Records, 2007)
(Produced by Jim Van Cleve)
This dynamic modern bluegrass band has a new lineup and, to a degree, a new direction. Recorded live at The Ark, in Ann Arbor, this concert album captures the band going full-tilt boogie with some of their new -- or at least more pronounced -- crossover influences. The biggest change, really is with the new lead vocalist, Josh Shilling, who also plays piano and guitar, and who favors a rather showy, blues-and-soul-inflected style. I can't say I'm really wild about him. Shilling's over-emotive, white-boy Southern soul approach edges uncomfortably towards Michael Bolton territory, or actually more like old Joe Stampley records, or -- better yet -- good ole Travis Tritt. There will doubtless be many 'grass fans who will welcome the shift in tone -- some folks are eager for change and innovation in the genre, while others will see it as an intrusion. I guess I tilt more towards the latter, although I think it's the specific mix in question that bugs me, rather than the idea of fusion itself: I don't like that kind of singing in Pop music, so why should I want it in my twang? Still, if you're open-minded, and looking for something new in the bluegrass world, you might wanna check this out -- Mountain Heart are still one of the most energetic and immediate bands working in modern bluegrass, and their musicianship is still top-flight. That alone will put this on the radar for 'grass fans around the globe.

Mountain Laurel "Swingin' " (Rasputin Records, 1984) (LP)
(Produced by Calvin Zon & Peter Bonta)
This energetic quartet from Washington, DC featured lead singer Laurel Blaydes who a little too folkie a vocalist for me, with a Joan Baez-y feel, though she did write several originals for this album, including the honkytonk-themed "Barstool (I Liked Me Better The Way I Was Before I Met You)" one of several songs with a country feel. They also cover Billy Edd Wheeler's "Coal Tattoo" and, taking a cue from Asleep At The Wheel, a version of Louis Jordan's "Ain't Nobody Here But Us Chickens." They do try to do the string-swing thing, though there's a little too much propulsiveness and a little less bounce to make it work all the way. Still, if you like they style, you might wanna check these folks out.

Mountain Smoke "On Blue Ridge" (Smoke Records, 1975) (LP)
(Produced by Jim Hurst & Dave Hemphill)
A decent progressive bluegrass band from Oklahoma City, OK... They are probably best remembered as an early band for future country star Vince Gill, who is credited as playing banjo, dobro and guitar, as well as singing harmony vocals (...and possibly lead on a couple of tunes? I think that's him on "Rocky Road Blues," but there aren't song-by-song credits to verify that guess...) These guys were okay, though not dazzling, and at this point were working pretty strictly in the bluegrass style -- their second record (which is reviewed in my hippie country section, but not here) had more of an outlaw country vibe. The closest thing here is a cover of Arlo Guthrie's stoner anthem, "Comin' Into Los Angeles"; otherwise, it's mostly a Country Gentlemen/Seldom Scene 'grass sound. Worth a spin, though, especially if you're a Vince Gill fan. Love that cover photo of him in longjohns and overalls!

Muleskinner "Muleskinner: A Potpourri Of Bluegrass Jam" (Sierra Records, 1973)
For some reason, I've misplaced my beat-up old copy of the Muleskinner LP. As I recall, though, in my senile haze, it's pretty similar to the Old & In The Way album reviewed below... A spirited, but somewhat raggedy acoustic album, recorded by what was meant to be a pickup band for a Bill Monroe gig on a local TV station. Maybe this isn't the most stellar bluegrass you'll ever hear, but it's certainly not the worst. The players were all top-flight traditionalists: David Grisman, Peter Rowan, flatpicker Clarence White, banjoist Bill Keith, and fiddler Richard Greene, who'd once been in Bill Monroe's band along with Peter Rowan. This is worth tracking down, just to check out what these guys were up to at the start of the decade, and also because it has an early example of Grisman working out his vision on a new acoustic music, on his original composition, "Opus 57," which later became a staple of his famed Quintet. A classic of the '70s bluegrass scene. (Addendum: hey, it looks like someone finally reissued the Muleskinner album on CD! Thanks to the folks at Runt Records for making this disc available again!)

Muleskinner "Muleskinner Live -- Original Television Soundtrack" (Rural Rhythm Records, 1998)

Joe Mullins & The Radio Ramblers "Rambler's Call" (Rebel Records, 2010)
(Produced by Joe Mullins & Evan McGregor)
Crisp, sharp-edged, traditionally oriented bluegrass from a band fronted by banjoist Joe Mullins, formerly of the band Longview. This has a similar feel to the classic Rice-Skaggs duo and those great old Bluegrass Album Band albums...Driving melodies, a propulsive rhythm section and plenty of keening harmonies, along with a rock-solid song selection. If you like old-fashioned, no frills truegrass, you'll definitely want to check this one out!

Joe Mullins "Hymns From The Hills" (Rebel Records, 2011)
(Produced by Joe Mullins & Evan McGregor)
A rock-solid set of high-lonesome bluegrass gospel with some modern songwriter-y moments and Southern Gospel touches... Overall, I'd peg Mullins as a true keeper of the flame, as far as traditional, soulful mountain music goes. I liked his secular stuff as well, and thought he an his band really soared on this album. If you like to get all Jesus-y with your bluegrass, definitely give this one a whirl. Guest artists include truegrass gospel purists Doyle Lawson and Paul Williams, as well as Larry Sparks, Rhonda Vincent and the venerable Ralph Stanley... That's my kinda party!

Joe Mullins & The Radio Ramblers "They're Playing My Song" (Rebel Records, 2012)
(Produced by Joe Mullins & The Radio Ramblers)
A solid, swing set of no-nonsense twangy, traditional bluegrass from one of the most dynamic and dedicated bands around... The picking is beautiful, the vocals are full of soul and the sound production is sweet. Banjo plunker and lead singer Joe Mullins has been around for a while: he was the bands Traditional Grass and Longview before setting out as a bandleader, and he certainly has the confidence and clarity of a veteran performer. This album is a strong set of songs drawing from contemporary bluegrassers such as Becky Buller and Dave Evans, as well as a few originals from various Radio Ramblers and some well-chosen oldies from folks such as the Delmore Brothers, Bill Anderson and a medley of tunes from the Osborne Brothers. Great stuff!

Joe Mullins & Junior Sisk "Hall Of Fame Bluegrass" (Rebel Records, 2013)
(Produced by Joe Mullins & Junior Sisk)
More zippy, high-lonesome bluegrass with dynamic picking, great vocal harmonies and a strong mix of secular and gospel material. These two guys -- each of them a bandleader in his own right -- have a strong simpatico feel and raise the duo to a lofty height. There's plenty of high-class traditional bluegrass out there these days, and these guys are making some of the best!

Conor Mulroy "Salinger" (Melmac Records, 2009)
(Produced by Conor Mulroy & Jeff Yurek)
Mandolinist/guitarist Conor Mulroy takes as his starting point the grass-classical explorations of folks such as Mike Marshall, Edgar Meyer and Chris Thile, stretching his ideas out into longer suites that are broken down into movements and parts, with long passages of bluegrass instrumentation placed into a more formal musical mold, with a hint of Celtic folk in there as well. This album (his first?) has two longer pieces, "Salinger" and "Sleeping Indian" and a shorter tune at the end, "The Conductor's Dispatch," with Mulroy on mandolin and nylon-stringed classical guitar, joined by fiddler Tristan Clarridge, bassist Corey DiMario and guitarist John McCann, who adds some Tony Rice-derived licks on a few solos. The length of these compositions can give the impression that they are a bit static, but for listeners who are into more of a contemplative,

Conor Mulroy "The Glass Ocean" (Melmac Records, 2010)

Conor Mulroy "The Unwinding Path" (Melmac Records, 2011)

Conor Mulroy "Foxfire" (Melmac Records, 2012)
(Produced by Conor Mulroy & Alex Prieto)
As with his earlier work, this album elaborates at length on a general theme -- the title piece, "Foxfire," has twm movements made up of thirteen parts, preceded by three shorter compositions of a similar feel. Mulroy seems looser and more fluid on this set, with the melodic lilt of of Celtic music taking a more prominent role. The static, repetitive style remains: he's not quite "a bluegrass Philip Glass," but a comparison to Glass's minimalism might give a hint of the direction Mulroy has taken. He also hosts a slightly larger ensemble -- now a quintet --with bassist DiMario and fiddler Clarridge joined by a new guitarist and even a marimba player added into the mix. It's not your garden variety bluegrass, though an intriguing set for listeners who are into a more trance-y, more challenging style, as opposed to the three-minute popular song format of standard, classic 'grass.

Alan Munde -- see artist discography

Michael Martin Murphey "Buckaroo Blue Grass" (Rural Rhythm Records, 2009)
(Produced by Ryan Murphey)
Although we all remember weatherbeaten Michael Martin Murphey for his 1970s Top 40/AOR heyday ("...she went and called him Wiiiiiiiiiiiilldfiiiiiiiire...") and for his involvement in the early '70s Texas "outlaw" scene, he also had roots in the bluegrass world -- in addition to his association with the Monkees, he also pitched songs to Lester Flatt & Earl Scruggs, and over the years he's used a bunch of high-power bluegrass players as sidemen on his albums. So it's no big surprise, and a bit of a treat, to find him doing bouncy acoustic remakes of some of his old songs, many of which hold up remarkably well after all these years. "What Am I Doing Hanging 'Round" sounds great, and the other songs are sure to provoke smiles of recognition and nostalgia as well... Among the musicians pitching in on this understated album are mandolinists Sam Bush and Ronnie McCoury, dobro whiz Rob Ickes, fiddler Andy Leftwich and even Rhonda Vincent on harmony vocals. Murphey's voice doesn't soar up as high as it used to, but he sings with feeling and conviction -- if you're a fan, or if you just like good, simple folk-Americana, this album's a fine choice.

Mutual Admiration Society "M.A.S." (Sugar Hill Records, 2004)
A cloying collaboration between the members of Nickel Creek (Sara & Sean Watkins, Chris Thile) and Glen Phillips of Toad The Wet Sprocket fame. Soft, nebulous acoustic meanderings... Didn't really grab me. Appropriately named, though.

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Hick Music Index

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