With the International Bluegrass Music Association Awards arriving in a few weeks, I thought that a comprehensive summary of the Albums of the Year nominees would be a nice change from my usual one project reviews. I will start with my least favorite and conclude with the project I believe deserves to win album of the year. When looking at the nominees, it’s clear that the reign of cohesive bluegrass bands over star studded non-committal groups has all but vanished. The consistency of quality in these star-studded affairs? Well that’s a different story.
5. Bobby Osborne- Original
Look, I’m probably in the wrong here. I can envision now when Osborne walks on that stage for a rare appearance as he hears his name called for winning album of the year. I recognize this as a legacy award that is extremely well deserved. But, do we really want a collaboration album where the main collaborator needs two mandolin players on every song, and some of the most talented vocalists to lift his thin voice? This incredible supporting cast that includes my very good friend Molly Tuttle on the standout song, “Make the World Go Away” does what it can on this project to mask the inefficiencies of having Bobby Osborne, not highlight his remaining talents.
4. Earls of Leicester- Rattle & Roar
It’s no surprise that I’m not a fan of their new project, since I was not a fan of their first album. Even so, this one does nothing to improve on the original. The difference between their self-titled debut and this project is the lack of surprise and energy that made the first release a smash hit after its release. I will never understand the dobro player as Earl strategy, I will never understand the bass style of Barry Bales fitting in to the Flatt and Scruggs style, and I will never understand how a second album of a novelty idea has risen so prominently. The only thing I understand and appreciate is Shawn Camp’s Lesteresque voice that makes the sum of its parts almost passable.
3. Balsam Range- Mountain Voodoo
Balsam Range knows what it is. When you have such a high contrast between two vocalists as Balsam Rrange does with guitarist Caleb Smith and violinist Buddy Melton the songs and album structure can almost write themselves. A high variance of styles from traditional Scruggs style to swing allow the album to never seem satisfied and always striving for something new. While some of these attempts fall flat in my estimation, songs like “Chain Gang Blues” and “Rise and Shine” show that Balsam Range’s lack of identity is its biggest strength, and helps to make it one of the better albums to come out recently.
2. Michael Cleveland- Fiddler’s Dream
It’s obvious how a collaboration album would differ when the center is Michael Cleveland as opposed to Bobby Osborne. I can think of numerous reasons to name this album Fiddler’s Dream. It could simply be the opening and standout track exemplifies everything that makes Michael Cleveland special including his brilliant use of repetition and nearly impossible transitions back to the tonic. It could be that for many aspiring fiddlers and professional fiddlers alike, a Michael Cleveland solo album has always been a desire. It could also refer to his supporting cast. While his band is his own and he has the artistic freedom to pursue adventure, it’s clear that a group of the best musicians in the world like he has here has inspired his instrumental abilities to new heights. Lastly, any fiddler would kill to have a band and features like this that includes names such as Sam Bush, Jason Carter, Earls of Leicester bandmates Jerry Douglas and Barry Bales, and many more awe-inspiring artists. Statman’s and Cleveland’s concluding “Nashville Storms” is one of the most infuriating, yet exhilarating instrumental performances ever put on record.
1. Gibson Brothers- In the Ground
This band is way too good, and the amount of recognition they get for it is finally coming around. Eric and Leigh have created a well-oiled machine that now runs on hyperdrive with mandolin maestro Jesse Brock added to the fold. This album is compiled from years of originals that had been made in the years since their last album, and represents their most consistent and varied work to date. “Highway” and “Look Who’s Crying” have a tangible rhythm that I have not heard other bands able to produce in bluegrass, and the unique timbres of both brothers make their songs immediately recognizable and enjoyable.
Of all the projects, it is interesting to point out that my winner is the band that would inherently have the most chemistry and love for each other, due to the family dynamic and the consistency in lineup through their years of touring. While the big name collaborations can add flair to certain songs, nothing beats cohesive bluegrass and strong song writing.
