Natalie MacMaster "Blueprint" (Rounder, 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, 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, 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' thoughout.

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, 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, 1980/2007)
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, 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, 2002)
The Marshall Family "The Legendary Marshall Family, v.2" (Rebel, 2004)
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!

Mike Marshall "Brasil (Duets)" (Earthbeat, 1996)
Following a trip to Brazil in 1995, Newgrass mandolin whiz Mike Marshall decided to tackle an entire album of Brazilian choro music, the zippy, propulsive instrumental style pioneered in the late 1800s, alongside it's better-known musical cousin, the samba. On this album Marshall performs some of the best known songs in the genre, as well as several that are further off the beaten track, playing in tandem with the likes of jazzgrass picker Bela Fleck and Edgar Mayer, West Coast jazz maven Andy Narell, and expatriate Brazilian pianist Jovino Santos Neto. Marshall has a real feel for this material: it enlivens his own playing, while he brings a lightness and playful air to this sometimes-rigid genre. This is a disc definitely worth looking for, particularly if you are already a choro fan, or a newgrasser interested in hearing someone stretching into new, dynamic territory.

Mike Marshall & Chris Thile "Into The Cauldron" (Sugar Hill, 2003)
Newgrass forefather Mike Marshall teams up with fusion-grass idol, Nickle Creek's Chris Thile, in a slam-bang set of flashy mandolin duets. For both artists, it's a nice return to a simpler approach, shorn of glitzy arrangements or iffy pop production... Sure, many of these songs go off on excessive, classical- and jazz-inspired tangents, but at least you get the feel that these guys are connecting as actual musicians, not just as play actors in some prepackaged studio outing, and really playing with the form. Not really my cup of tea, but for new acoustic fans, this is a record well worth checking out.

Mike Marshall & Chris Thile "Live Duets" (Sugar Hill, 2006)
In many ways, this album is a homecoming... In the early 1980s, mandolinist/multi-instrumentalist Mike Marshall was one of the many bluegrass-jazz fusioneers who walked directly in the footsteps of dawgmeister David Grisman, taking American acoustic music to new heights and sometimes to sonambulent sidetracks. Many of the pickers in that class of the newgrass camp carved out a comfortable niche as folk-scene favorites and as hotshot hired hands, over in Nashville. When folks started to wonder who would follow in their footsteps, one of the first young'uns to emerge in the '90s was picker Chris Thile, whose teenage debut was a thing of wonder. Thile, of course, went on to join the band Nickel Creek, which took its cues from Alison Krauss & Union Station and likewise cracked into the charts in the adult pop market. Truegrass purists may take issue with Nickel Creek's brand of soft-pop fusion, but it's hard to fault Thile's strengths as a musician, especially when he strips things down, as on this set of lively acoustic duets. There are jazzy, improvisational flights that may turn some of y'all off, but the mutual excitement and synergy that Marshall and Thile share comes through loud and clear. If you're already on the newgrass bandwagon, you'll probably want to check this one out.

Mike Marshall & Darol Anger "Woodshop" (Adventure Music, 2007)
Sprightly "newgrass" instrumentals in the classic mode, these collaborations between violinist Darol Anger and mando/multi-instrumentalist Mike Marshall cap a decades-long partnership, and show the fluidity and playfulness of their shared musical strengths. The tunes bear the emblematic mix of bluegrass, classical and jazz elements that the style is based on... The album kicks off with "Peter Pan," which gave me the willies because its the theme song to a local public radio talkshow that I hear all the time (Mike Marshall wrote it... who knew??) Another highlight is the craftily named "Who Had Whom," which is a sideways quote of the Beatles' "Michelle..." All in all, a pretty solid album by these two old pros -- focussed and not too goopy, a treat for fans while accessible to Americana and jazz buffs alike.

Mike Marshall, Darol Anger & Vasen "Mike Marshall & Darol Anger With Vasen" (Adventure Music, 2007)
Two newgrass elders, violinist Darol Anger and mando/multi-instrumentalist Mike Marshall, tune in and turn on with the group Vasen, one of the most dynamic bands in the modern Swedish acoustic music scene. Various 'grassers have flirted with Celtic and other European forms, so Anger and Marshall already have an affinity for the style... The debt apparently runs both ways, as the Vasen trio leaps in full throttle along with the Northern California superpickers... It's a very energetic, hurly-burly set, dominated by note-heavy improvisational flights. The repertoire is split pretty evenly between originals and traditional material brought to the table by Marshall, and originals and traditional material from Vasen's guitarist, Roger Tallroth, and violinist Mikael Marin. Acoustic music fans who like their improvs fast and furious will get a kick out of this one, and folks who are new to the Swedish sound will probably be inspired to check out other, older Vasen albums as well.

Mike Marshall "Mike Marshall's Big Trio" (Adventure Music, 2009)
(Produced by Mike Marshall)
A veteran of the early '80s "spacegrass" scene, mandolinist Mike Marshall has pursued an eclectic set of interests, from bluegrass, classical and jazz, to various stripes of world music, particularly Brazilian choro. Here, along with two younger players -- cellist Alex Hargreaves and bassist Paul Kowert -- he weaves these elements together in a strong, supple album that mostly sounds like classic spacegrass-jazz, but also has a distinctive feel, particularly on more forceful, exploratory tracks such as "Three Dragons," which reminds me of John McLaughlin's work with the Indian band, Shakti. Marshall is not content to rest on his laurels, and definitely seems to have been pushing himself on each of his last few records... This is one of the most focussed and direct, a fine extension of the music that gave him start. Fans'll be psyched.

Mike Marshall & Caterina Lichtenberg "Caterina Lichtenberg And Mike Marshall" (Adventure Music, 2010)
(Produced by Mike Marshall & Dave Luke)
A lively classical-oriented collaboration with newgrass superpicker Mike Marshall and Bulgarian mandolinist Caterina Lichtenberg, who has worked with the Duetto Giocondo and the Dresden Symphony Orchestra. The two are in perfect synch, performing with obvious delight on an ambitious set which includes classical composers such as Bach and Leclair, as well as a suite by Jose Antonio Zambrano, a couple of lively choro tunes by Brazil's Jacob Do Bandolim and a pair of Marshall's own compositions.

Mike Marshall "An Adventure: 1999-2009" (Adventure Music, 2010)
A nice best-of overview of newgrass mandolin whiz Mike Marshall's work during his first ten years running his own indie label, Adventure Music, which specializes in newgrass and other jazz styles. This gathers selections from nine albums of Marshall's work, including with bands such as Psychograss, Big Trio and Vasen, as well as numerous collaborations with violinist Darol Anger. There are a bunch of Brazilian-themed performances, with artists such as Jovino Santos Neto and Hermeto Pascoal, and several lovely explorations of the wild acoustic style called choro which has become a wellspring of Marshall's recent musical interests. This is a very strong album: I have to be honest and admit that sometimes the newgrass scene can get a little too goopy and saccharine for me, but this retrospective collection held my interest from start to finish and paints a well-rounded picture of Marshall's growth as an artist. Nice stuff.

Benny Martin "The Big Tiger Roars Again, Part I" (OMS, 1999)
Fiddler Benny Martin was a key participant in the early years of bluegrass, and a fixture on the festival scene throughout the 1960s and '70s, as well as a highly valued Nashville studio musician (and recipient of numerous shout-outs from alt-grass oddball John Hartford.) In the early 1980s, Martin developed a degenerative nervous disorder that paralyzed his vocal chords, and while he still sings a bit, the warm, husky voice of his youth has given way to a thicker, gurgling tone that many listeners may find a bit disconcerting. However, his fiddling remains stellar, and working alongside an all-star cast of pals and cohorts such as Vince Gill, Del McCoury, John Hartford, Buck White, Ricky Skaggs and others, Martin has crafted a striking set of late-period recordings. Even more impressive is the fact that all of these songs were written by Martin himself... and they are of a uniformly high calibre! Worth checking out.

Benny Martin "The Big Tiger Roars Again, Part II" (OMS, 2001)
Joined once more by a top-flight set of pals -- John Hartford, Ricky Skaggs, Alison Krauss, Ronnie McCoury, the Reno boys, Buddy Spicher -- you name 'em! -- Martin's fiddling has never been finer. His vocals aren't so great; as mentioned above, age and health problems have slurred his diction and thickened his tone, but this is still a notable album... And, man! Just listen to that fiddle sing!

Jimmy Martin -- see artist discography

Steve Martin "The Crow: New Songs For The 5-String Banjo" (40 Productions, 2009)
Dang! This is nice. I mean, yeah we all knew that Steve Martin could "really play" the banjo, but who knew that he was this damn good? This is a dazzling set of original compositions, mostly instrumentals, with the compositional strength, technical skill and just plain fun, bouncy abandon to make any bluegrass/newgrass fan jump for joy. Along for the ride are co-producer John McEuen, as well as banjo greats Earl Scruggs and Tony Trischka, and a slew of high-power vocalists, including Mary Black, Vince Gill and Dolly Parton -- Martin rambles his way through one vocal number, the comedic "Late For School," but the real razzle-dazzle here are the instrumental tunes, like "Tin Roof" (which evokes the late John Hartford), the stunning, inventive "Pitkin County Turnaround" and the winsome "Clawhammer Medley." Banjo music fans will definitely want to want to check this out -- Tony Trischka's presence is especially apt, since this recalls the originality and verve of his early solo work. Definitely recommended!
Download picks:

Late For School

Steve Martin & The Steep Canyon Rangers "Rare Bird Alert" (Rounder, 2011)
(Produced by Tony Trischka)
A delightful album, with multimedia mastermind Steve Martin and the up-and-coming Steep Canyon Rangers band deepening their relationship, and perfecting a stage act not unlike that of Hot Rize, or even some of the more winsome folk/old-timey bands of the '60s. Most of the songs are novelty numbers, and Martin hits the mark every time -- none of the shallow, mean-spirited irony of modern times, just some good, old-fashioned funny stuff - he knows how to edit down, and there's not a wasted note on this album. There are also several inventive, whimsical instrumentals, including the lively title track and "Hide Behind A Rock." Of course, you'd think that Steve Martin, being Mr. Show-Biz, could round up some top talent for his guest stars, but instead we get near-unknowns such as The Dixie Chicks and Paul McCartney... Oh, well. Paul sings a sweet love song, "Best Love," while the Chicks harmonize on another heartfelt number, "You." The Steep Canyon boys have been favorites of mine for years, and this record is a real peak for them: one of the best collaborative efforts on here is the comedy number, "Atheists Don't Have No Songs," with lyrics by Martin and flawless bluegrass-gospel harmony arrangement from the band. Other highlights include "Go Away, Stop, Turn Around, Come Back" and its sister song, the breakup breakdown "Jubilation Day." Martin's last bluegrass record was a gas; this one's even better. Highly recommended!

The Masters "Laid Back" (Pinecastle, 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!

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" (Binge Disc/Bronco Buster)

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

Del McCoury -- see artist discography

Ronnie & Rob McCoury "Ronnie & Rob McCoury" (Rounder, 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, 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, 2008)

Roger McGuinn "Treasures From The Folk Den" (Appleseed, 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!

The McPeak Brothers "Bluegrass At Its Peak" (RCA, 1974)
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, 1977)

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

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

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

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

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

The McPeak Brothers "Yesteryears: The Best Of The McPeak Brothers" (Rebel, 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, 2001)
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... worth checking out!

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

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

Jesse McReynolds "New Horizons" (Pinecastle, 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, 2004)

Jesse McReynolds & Charles Whitstein "A Tribute To Brother Duets" (Pinecastle, 2005)

Jesse McReynolds "Dixie Road" (Lamon, 2007)

Jesse McReynolds "Songs Of The Grateful Dead" (Woodstock, 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.

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Bluegrass Albums - Letter "M"

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Hick Music Index

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