Larry Stephenson Brings his Brand of Soothe Grass again on Weep Little Willow
I remember seeing the Larry Stephenson Band about ten years ago at the Father’s Day Bluegrass Festival. It was terrible. Compared to all the other acts that I had seen or was going to see, this band seemed to lack energy, drive, or original ideas. From the first song on, I felt underwhelmed that this was Larry Stephenson. He didn’t have the infamous Kenny Ingram in his band at this point, but I still felt like his music lacked what my adolescent mind desired in the bluegrass genre. Today, my crapshoot of a musical journey as lead me to realize the greatness and the subtlety of his music. He belongs to the highly underrated subgenre that I like to call Soothegrass. It would have had to originate with Flatt and Scruggs and has been improved by bands such as The Nashville Bluegrass Band relatively recently as well as Kenny and Amanda Smith. At first listen, these bands can sound hollow compared to other traditional outfits, but this is a stylistic choice that is created from certain chord progressions and melodies as well as instrumental choice and style. Nashville Bluegrass band got it from Stuart Duncan and a relatively melodic song choice, Kenny and Amanda Smith has a guitar player who prides himself on a floaty and melodic style. What is evident on Weep Little Willow by Larry Stephenson is the lack of fiddle and soothing Kenny Ingram lines. These characteristics create a strong Soothegrass album that also is one of Stephenson’s best as a whole.
Albums generally like to begin with drive created by a heavy banjo track on a fast song. Stephenson’s variation of this is a banjo kick, but the song closer resembles a moderate tempo seen in many Flatt and Scruggs songs rather than a high driving Stanley or Monroe tune. Despite this, “Yesterday’s Gone” is the Catchiest song on the album. The infectious hook is created from the start from the always tasteful Kenny Ingram who effortlessly presents the melody with enough flair to entice the listener. This description has also been a fair way to present Larry Stephenson for longer than forty years. His voice on this along with other tracks is as stellar as always and stays as the main attraction of the band. “It Almost Feels like Love” is one of the softer and more sensitive songs on the album. Because of Ingram’s ability the banjo background actually enhances the mood instead of undermining it. Ingram’s backup is possibly the strongest part of the album, and remains a constant on most of the album.
The middle of the album consists of the two strongest lyrical tracks on the album. “Nail my Shoes to the Floor” sounds like a song that Stephenson outbid Junior Sisk for because of its unique take on relationships. Stephenson sings about not leaving on his woman many times, and that these decisions will soon result in the same happening to him. What he resorts to is an interesting take on the classic tropes. The next song, “Weep Little Willow” is deservedly the title track because it represents the type of material that has made Stephenson a festival favorite in the past. The heartfelt story of a homeless orphan perfectly pairs with Stephenson’s voice which is only enhanced after meeting him and realizing the type of person he is.
While this is still a textbook Soothe grass album, the instrumentation is especially strong. Although Matt Wright plays a strong and stable bass throughout, and Kenny Ingram is the king of banjo backup especially with Stephenson’s voice accompanying, the guitar of Kevin Richardson is the star. His backup is not traditional, but Stephenson’s song choice isn’t strictly traditional either. Even songs like “Kentucky Waltz” are enhanced by Richardson’s chord choices that include a lot of 7ths and 9ths and open up the melodic possibilities throughout the song. His solos are also extremely composed, yet energetic. His right hand heavy cross picking style is used especially well on the Mac Wiseman track, “Free Me From this Old Chain Gang”.
Stephenson will be a main stay in the bluegrass festival circuit for many reasons. One is definitely his uniquely high voice and the other is assuredly Kenny Ingram’s perfect banjo playing, but it is also the fact that very few bands play the brand of bluegrass that Stephenson specializes in. It’s not for 10 year old children, but it’s for a large group of bluegrass fans that enjoy subtle instrumentality and strong yet non-flashy vocals.
