I don’t know the last time I got to review an “I told you” album in Bluegrass. Normally it’s an accomplishment only found in classic rock, when an exceptional band shows that what made their sound so unique at their origins is now the sound of the era. Dark Side of the Moon was a turn to normalcy for a band that foresaw the psychedelic movement years in advance. There are numerous other examples of this type of phenomenon, but in a genre that is so steeped in tradition, this feat is exceptionally rare.
If an album of this caliber was to occur, it would arise in a time of bluegrass turmoil and rapid change like today. The addition of drums and country aesthetics is at an all time high and shows that bluegrass is going through some type of identity crisis, which no one will know the severity of for years to come. One band that has kept one foot in bluegrass and another in the larger world of popular culture, is the Steep Canyon Rangers. While still performing bluegrass festivals like Father’s Day a few years ago, they served a double life as the background band for Steve Martin and have played the largest gigs imaginable due to this.
While I have always respected the band, I always thought that Steve could have done a little better. I mean, why not just pick and choose a super group of the highest caliber that would make Allison Krauss jealous? What has become clearer and clearer since Steep’s release of 2007’s Lovin’ Pretty Women was the infectious grooves, energy, and variety that only this band could bring. This aesthetic wasn’t always at the front of audiences’ desires. Steep canyon has never had the vocal or instrumental thrust of Rambler’s choice, the smoothness of Balsam Range, or the mind-bending harmonies of Dailey & Vincent, but they have always had the ability to bring all of these traits out of their pocket as well as the jam band sensibilities of the (Grammy Winning!!!!!) Infamous Stringdusters and song variety that is unparalleled by anybody in bluegrass.
This can be seen in the contrasts between their title track “Out in the Open” and the following “Can’t get home”. The booming bass drum of the former track brings a head-nodding groove to the tune and is something that has surprisingly been left uncovered by other adventurous bluegrass artists. The use of harmonica is also a nice addition to the Steep’s patented sound. Then suddenly, the chopping groove of the title track is followed by the ringing minor rings of Nicky Sanders. The tension is solved by the “hoedown” drums, which only work in this instance because of the decision to implement the tension filled m6-4-1 progression. It also tells the heartbreaking story of a soldier who “can find the house, but I can’t get home”.
The album standout “Going Midwest” is heart breakingly sparse, and tells the literary story of Nick Calloway. The minimal guitar work on the solo is possibly the best I’ve heard in years and the use of the right hand is impeccable and the harmonies on the verse before the guitar break are spellbinding. I think this is a good time to tell you, they somehow created this whole album live (in the studio) despite all the intricacies and the complex arrangements including instruments that rarely fit in the bluegrass aesthetic but fit like a glove under the guise of this masterful group of musicians.
If “Going Midwest” is the speechless moment of the album, “Shenandoah Valley” is the moment you talk to anybody and everybody around you asking if a project this perfect can exist. I mean, a whistling and plucked fiddle call and response mixed with the soothing low tones of Woddy Platt? Oh and somehow they make maracas tasteful? This song is pure sorcery.
An “I told you so” album can only be described with hyperbole and awe. On this project, Steep Canyon has proved they were ahead of their time when they first came out, and that now they have lapped all conversations and have perfected the current style of bluegrass while bands like Lonseome River Band and Dailey and Vincent are just getting acclimated to the new surroundings. All hail Steep Canyon, long may they reign.
