Once again there has been quite a variety of music to review. What you see here are short reviews of the very best music that has come to my attention in the last few of months. If the reviews pique your interest in these albums, please click on the artists’ names to visit their web sites. You can find out more about the artists, listen to samples of their music and check their schedules. I hope you will find this to be a valuable way to discover music that will matter to you.Welcome to Issue 22 of MMReview!—Michael Devlin, Editor
Reviews: (Click titles to jump to reviews)
JJ Baron—Brand New Stranger
Chuck Brodsky—Tulips For Lunch
Colcannon—The Pooka and the Fiddler & Happy as Larry
Lui Collins—Closer
Guy Davis—Skunkmello
Moe Denham—The Soul Jazz Sessions
Ani DiFranco—Carnegie Hall 4.6.02
Julie Elkins & David Thompson—My Feet Won’t Miss This Ground
Andrea Fairless—She Manages
Fruit—Burn
Annie Gallup—Half of My Crime
John Gorka—Writing In The Margins
Grace Griffith—My Life
Carol Noonan and Dana Cunningham—The Water is Wide—Inspired by the Stone Mountain Arts Center
The Red—Burn
Rootbound—Rootbound
Various—Songs for Sophie—A Collings Collective
Loudon Wainwright III—Here Come The Choppers!
The Wailin’ Jennys—Firecracker
Steve Wildey—Along the Way
Doug and Telisha Williams—Rope Around My Heart
Two Cents: Impressions of new material summed-up in a couple of sentences by the editor.
Black 47—Bittersweet Sixteen
Alex Kash—Organic Alchemy
Rita MacNeil—Blue Roses
Jay Mankita—Morning Face
Alastair Moock—Let It Go
David Wilcox—Vista
Slipcrackers: (Quick reviews of albums that almost slipped through the cracks, but are way to good to let pass without comment.)
Grace Griffith—Sands of Time
Kazuhiro Inaba—Teardrop On A Rose
Chris Jones—A Few Words—The Best of the Originals
Lùnasa—Lùnasa
James Leva—Memory Theatre
Ivan Rosenberg—The Lost Coast
Various—Contra Music—The Sound of New England
The Waybacks—Burger After Church
Weavermania!—Weavermania! Live
Reviews:
JJ Baron—Brand New Stranger
2006, Rhody Records
Well! After listening to just a few of the songs on Brand New Stranger I thought that JJ Baron must a talented Austin musician who has been hanging out refining his craft with members of The Flatlanders for the last 20 years or so. Actually he was born 23 years ago and comes from Providence, RI. His voice reminds me of Jimmie Dale Gilmore, and his alt-country tunes are ripe with fresh licks and turns of phrase. He is equally at home backed by pedal steel or rocking out on his acoustic guitar. The fact that he’s got Slaid Cleaves in for a duet on one of the songs should help get JJ noticed. This album is strong all the way to the final track, an elegy for June Carter. There hasn’t been an artist this alive on arrival since Steve Forbert! Essential! —Michael Devlin
Chuck Brodsky—Tulips For Lunch
2006, Chuck Brodsky/Waterbug
It’s starting to occur to me that Chuck Brodsky is one of the finest singer-songwriters around. He’s an American original, even though you can easily trace a line from Harry Chapin for his story songs and John Prine for his wryly humorous observations. His vocals hover between talking and singing yet each song has its own flavor and rhythm. The stories are often taken from antique headlines and the language is often newspaper plain, but the songs are full of unexpected phrases and subtle images. J.P. Cormier’s production brings a fresh approach to each song, from eastern European with touches of accordion and soprano sax, to old-timey with tuba for bass. My favorites are “The Unreliable Taxi,” about a small-town cab driver you had better never need and “The Man Who Blew Kisses,” a touching tribute to a sweet natured mentally challenged man who enjoyed listening to music. Some songs have fun with foibles, others are potently political, but Brodsky is more affable than angry—the kind of guy you want to come back to again and again to hear his stories. Essential! —Michael Devlin
Colcannon—The Pooka and the Fiddler & Happy as Larry
2005, Oxford Road Records
Colcannon is a Colorado based Celtic band complete with fiddle, bodhran, cittern, flute, whistle, concertina and guitar. They also add and some woodwinds, banjo and brass in a modern take on traditional music. This album is a departure for them because it is features stories in verse written by the band’s vocalist, Mick Bolger, inspired by Irish folk-tales he heard as a child. Traditional and original tunes are woven through the narrative in a way that far surpasses the way that music is typically used in children’s recordings. The stories themselves are memorable. After all, only the best parts get handed down or added as they evolve over the years. The traditional tunes in the score have been shaped and survive by a similar process. The collaborative efforts the members of Colcannon have created a wonderfully integrated piece, with musicianship that can only occur in a band that has played together for years. A thoroughly enjoyable family listen. —Michael Devlin
Lui Collins—Closer
2006, Molly Gamblin Music
The first time I listened to this album, I was in the midst of my daily distractions and didn’t grab my attention. The fault was in the listener because when I listened again in a quieter moment I discovered a compelling collection of poetry and music. Collins intersperses mostly original tunes with readings of her poetry. One may say that the poems are the dramatic soliloquies that lead us from song to song, or that it is the songs that dance us from scene to scene, but there is certainly a theatrical feel to this CD even though there is no continuing story. Moments of pastoral tranquility pace epiphanies of seering personal clarity. The acoustic arrangements are richly colored and melodic. Lui has three members of Daisy Mayhem helping her, Scott Kessel on an eclectic assortment of percussion, Anand Nayak on lots of different stringed instruments and Rani Arbo on fiddle and vocals. Frequent collaborator Dana Robinson helps out on guitar and banjo, Rose Sinclair on accordion, Keith Murphy on piano and Larry Unger on banjo. This album is a completely satisfying experience, especially when you give it the attention it deserves! —Michael Devlin
Guy Davis—Skunkmello
2006, Red House Records
As the son of Ozzie Davis and Ruby Dee, Guy Davis grew up in a house often visited by the most influential cultural and political people in a seminal part of our history. He has had success as an actor on Broadway and in movies and television, but he is known to blues fans as a prominent champion of acoustic blues. Variety is what makes this a special album, especially if you are one who think that listening to a whole blues album is too much of the same thing. Davis plays 6 and 12-string guitar and 4 and 5-string banjo on tunes ranging from Piedmont to country to Chicago. Moods swing from happy to sexy, down and dirty to down and out, frequently with a storyteller’s eye. The album ends with a duet (or more aptly a duel) featuring his son Marshall battling with Guy about the virtues of Rap and Blues. An enjoyable album on every level.
Moe Denham—The Soul Jazz Sessions
2006, Thortch Recordings
This is some of the sweetest, coolest, soulful Hammond B3 playing you are ever going to hear! Moe Denham bills himself as a “B3 master” but that’s only half of the story. He’s also got a lot to say musically, whether you hand him a tune or he writes his own. Talent has attracted talent for this recording with the percussion of Robert Bond on drums and Jamie Nichol on congas. Oddly enough, although he has eight different studio guitarist rotating through the ten tracks, the album seems the work of a single session. A version of “Autumn Leaves” with a classical intro, and a medley of Horace Silver’s “Song for My Father” and “Eleanor Rigby” may be the first songs to wow you with their imaginative musicianship, but this whole album is a pleasure to explore. —Michael Devlin
Ani DiFranco—Carnegie Hall 4.6.02
2005, Righteous Babe Records
This concert finds Ani alone on tour, just her voice, guitar and legions of fans who have memorized her every utterance and hang on every tidbit of “new” at her live shows. Ani is intensely aware of her audience as she plays and talks between songs and the energy that crackles back and forth is like another critter in the room. Ani plays her guitar like she made a deal with a faster devil, and sings like the words are formed low in her belly and will blow off the top of her head if she doesn’t open her mouth. She recites her poetry as if she can really change the world if she feels each word. The songs are usually about herself and usually in terms of all or nothing. Her stance is alternately vulnerable and challenging in time to her convoluted syncopated chords. It’s a workout to listen to but she is brilliant and honest and doesn’t leave an ounce of herself in the dressing room. Someday, Ani will step back from the warp-speed, warped and wavy edge but it wasn’t on 4.6.02. —Michael Devlin
Julie Elkins & David Thompson—My Feet Won’t Miss This Ground
2005, Snake River
The Snake River gang is at it again, making contemporary bluegrass music in the Northwest. All the members of Kane’s River are on hand along with several additional fine musicians to support this duo recording. David Thompson’s songwriting and Julie Elkins singing are featured in a collection of songs that have the signature subtle, exquisite sound of the other configurations found on Snake River. There is a lot going on with guitars, fiddles and mandolins taking solos and harmony vocals materializing in just the right measure. Thompson’s bass and guitars and Elkins’ banjo anchor the sound, but it is Elkins’ charismatic vocals that hold your attention in much the same way that Allison Krauss’s do in Union Station. The songs are well-written and melodic with plenty of space for tasty instrumental licks. It’s a pleasure to take it all in! —Michael Devlin
Andrea Fairless—She Manages
2003, Pedernales Records
Houston native Andrea Fairless is a shockingly good singer! She has a voice big enough to make you sit up and take notice without being brassy, and yeah, she sure knows what to do with it. She can belt and she can ballad, she can rock and blues and honky tonk. She more than manages, she ignites! None of the songs on this album were penned by Fairless, nor are they covers of songs made popular by others. Some of the songs are quite memorable, such as one about a girl who has to choose between “Two Brothers,” as well as the killer rocking title track about a single mom. As for the rest of the material, how can you tell? Each song is an event with a set of pipes like that. The band features some of the finest studio musicians available including Lloyd Maines and Cindy Cashdollar and they play like they’ve been waiting a long time to back up a singer like this. Essential! —Michael Devlin
Fruit—Burn
2005, Fruitmusic
Fruit is a pop band from Australia fronted by three dynamic women singers, Mel Watson on horns, and Susie Keynes and Sam Lohs on guitars. They each are capable of taking the lead but it is their harmonies that give Fruit its signature sound. Where so many pop bands achieve a tight blend by overdubbing a single voice, Fruit has a bright and appealing mix of their three voices. In particular, Keynes sounds a lot like k.d. lang especially on the power ballads. Another unusual element of their sound is the sax playing of Mel Watson, which adds a soft-jazz feel to many of the songs. Fruit seems to benefit from being based so far away from the American music industry. Their music is fresh and alive, taking more chances in the harmonies and sounding more real. —Michael Devlin
Annie Gallup—Half of My Crime
2006, Flyaway Hair/Waterbug
The words do most of the shaping of the melody and you can’t really whistle most of these tunes, but make no mistake, this album is an intense musical pleasure. Each tune is framed by Gallup’s dancing counterpointal fingerpicking and the interplay of one of three talented electric or upright bass players. Gallup lays her recitations into the synchopated spaces with a sultry whisper that draws you into the mood of the song. It’s a world where grownups are unattached, taking lovers and drinking glasses of whiskey at home. The songs are often narrative, richly detailed and pithy, imploding with smoldering insight. This is an essential recording for anyone who appreciates the confluence of lucid lyrics and expressive musical accompaniment. —Michael Devlin
P.S. I was lucky enough to see Gallup perform a couple of years ago and I am happy to say that her guitar playing is for real and her softly nuanced vocals are just as compelling in concert. She is one of the best-kept secrets of the acoustic scene, considering her unique talent and how long she’s been paying dues.
John Gorka—Writing In The Margins
2006, Red House Records
It’s been a while since 2001’s The Company You Keep, but the wait has been worth it because this may be one of Gorka’s best albums yet. He’s been a headliner on the singer-songwriter circuit since the 1980’s, with his thoughtful songs for grown-ups and big sad voice. The first song specifically states that the heart is not a simple place and Gorka’s songs revel in life’s nuances and contradictions. It may take a few listens to fine tune yourself to the shades of emotion, but you will instantly enjoy the gentle melodies and the soft harmony singing of Lucy Kaplansky, Nanci Griffith, Alice Peacock and Kathleen Johnson. When the subject turns to the issues of the day, Gorka pays the same attention to the various and subtle details of the lives behind the news stories. This album shows the work of an artist in his prime, with a reflective voice so needed in these faltering times. —Michael Devlin
Grace Griffith—My Life
2006, Blix Street Records
I knew from the first notes of the first track, Iris Dement’s “My Life,” that I was going to love this album. This is a song by an artist I love, yet I was immediately drawn to Griffith’s beautiful and different version. The way Griffith uses her voice reminds me of Judy Collins in a slightly lower range. Her vocals are polished while retaining her own unique sound. The production by Chris Biondo, Marcy Marxer and Lenny Williams varies from soft piano and strings to banjo, fiddle and mandolin, always perfect for the mood of each song. Griffith has chosen extremely melodic and distinctive songs, with many familiar tunes such as “The Cuckoo,” Sting’s “Shape of My Heart,” Gordon Lightfoot’s “Song For A Winter’s Night” and Jane Siberry’s “Calling All Angels.” The album has a radiantly peaceful quality and it seems as though Griffith is reluctant to show us anything that is less than strikingly gorgeous. This urgency is doubtlessly fueled by the fact that she has been battling young onset Parkinson’s Disease since 1998. Griffith recorded My Life knowing that in a few months she would be undergoing complex surgery to help alleviate her symptoms. It is well worth following this link to read what she has to say about her disease: http://www.seamaid.org/grace/news.html. Her story is an inspiration to anyone who is facing significant challenges; her music is essential to those who are most alive when listening to songs sung beautifully! —Michael Devlin
Carol Noonan and Dana Cunningham—The Water is Wide—Inspired by the Stone Mountain Arts Center
2005
By the middle of second track, Sting’s “Fields of Gold” I realized that this is one of the most beautiful albums I have ever heard. Carol Noonan is blessed with a lush vibrato voice that is as pleasing and round in the upper registers as it is in the low. Dana Cunningham describes her art as “contemplative piano.” She doesn’t play pretty little nothings that you can have on in the background while you sit and ponder. She takes melodies and quietly explores them with thoughtful grace. Together, they sing and play with a shared artistic vision, resulting in a peaceful, powerful music. Max Dyer’s cello adds yet another gorgeous sound to the mix. The Stone Mountain Arts Center is a dream Carol shares with her husband Jeff, of establishing a performing arts center on their farm in Maine. Their hope is that the proceeds from this CD will help to fund that dream. One can only hope that Noonan and Cunningham will get together again and again, long after the need of a place to play is an excuse for creating such surpassing music. —Michael Devlin
The Red—Burn
2004
Every once in a while a band comes along playing pop music that rises above its formulaic genre. The driving force behind The Red is Marco Aiello, the lead singer and acoustic guitarist whose vocals bring to mind Bono in his less tortured moments. He has a hand in the writing of all of the material and that is where this album really shines. These are extremely well crafted songs with distinctive hooks and engaging melodies. The rhythm section of Steve Striegel on drums and Tony Nolley on bass are right there to keep your feet moving to the beat. In an effort to get their music out, The Red has tried a few innovative marketing approaches. Early pressings of this album included a message asking for the listener to duplicate the CD three times and pass it on. They also claim to be the first band to distribute an album on a flash drive. Gizmos aside, these guys are worth a spin or…whatever it is that happens inside a flash drive! —Michael Devlin
Rootbound—Rootbound
2004
Deb Kauffmann on rhythm guitar and Henry Koretzky on mandolin and lead guitar are the singing duo Rootbound. Their harmonies are so easy and sweet that it’s easy to imagine them singing together for hours and hours just for the pleasure of their sound. Their playing is as accomplished as their singing with the same effortless yet sophisticated quality. In a note on the CD cover they express an interest in adding “contemporary and original material to the standard repertoire,” and they do just that, penning a few songs and sampling from the writing of other traditional performers as well as interpreting classic and traditional songs. They also brilliantly gather Warren Zevon’s “Fistful of Rain” and Bruce Springsteen’s “If I Should Fall Behind” into the traditional fold. They make it all sound like it belongs, smoothing the antique turns of phrase of the traditional songs and finding the iconic roots of the popular songs. You can listen to this album frequently and still find something new—this music is more roots-nourished than root-bound! —Michael Devlin
Various—Songs for Sophie—A Collings Collective
2005, FGM Records
I played and enjoyed this album a few times before learning its reason to be. I heard talented musicians with a strong sense of melody, brilliant playing of the kind that doesn’t brag about itself and production and recording that can only be described as loving. Although a couple of the musicians sounded familiar, most are new to me. The story behind the album tells a lot about why this is such a fine compilation. Sophie is the ten year-old daughter of Steve McCreary, the general manager of Collings Guitars in Austin, Texas. She has early onset bipolar disorder. Dan Miller of Flatpicking Guitar Magazine asked musicians who play Collings instruments to donate their time and music to an album whose proceeds will help defray the high costs of Sophie’s care. Miller found several musicians close to home at FGM Records as well as other musicians of note, including Tim O’Brien, Jim Lauderdale, Rick Brotherton Chris Hillman, Herb Pederson and others. Combine a classy independent record label, musicians who choose to play high quality instruments and a friend in need and you get this remarkably cohesive album and a good way to introduce yourself to some outstanding musicians. —Michael Devlin
Loudon Wainwright III—Here Come The Choppers!
2005, Sovereign Artists Inc.
Here Come The Choppers! starts with “My Biggest Fan,” a song about a man who is Wainwright’s biggest and heaviest fan. The humor is typical of Wainwright, clever and self-deprecating, poking fun at his former status as the next Bob Dylan, but also leaving you with the uneasy feeling that you will not escape lampooning. Wainwright strongest material comes when he explores his own history. “Half Fist” describes his grandfather’s pose in his wedding picture. His tone is jaunty, but the song is like a casually tossed grenade that we look away from before it explodes, heading for the inside of some pretty dark places. “When You Leave” is a third person look at a middle-aged man reckoning with feelings about the children of a marriage he left. It’s easy to imagine Wainwright singing this one first person. “Nanny” ends the family tour with a song that for a change is light-hearted from start to finish as well as surface to depth. The title song is an apocalyptic view of LA that is part reality cop show, part what Iraq now calls normal. This album shows an artist who still has a comic edge, depths to explore and unfortunately for all, a smug culture to satire. —Michael Devlin
The Wailin’ Jennys—Firecracker
2006, Red House Records
The Wailin’ Jennys are singer-songwriters Ruth Moody, Nicky Mehta and Annabelle Chvostek and this is their second album on Red House Records. Their harmonies sound as close as sisters and their sound is more blend than contrast. The three woman contribute equally to the songwriting and each are able to write to the vocal strengths of the trio. They positively sparkle on the more melodic and traditional sounding tunes. My favorite songs are the ones in which Moody plays banjo, the jangley plunk is a funky contrast to the silky vocals. The first track, “The Devil’s Paintbrush Road,” is by far my favorite—a banjo and fiddle tune with sly dobro and a thumping syncopated beat. —Michael Devlin
Steve Wildey—Along the Way
2005
What a lovely solo guitar album! It is so nice to hear a virtuoso musician playing for more than just fellow players. Sure enough he plays with dazzling technique, but he gives the average listener rhythm to move with and melody to hold on to. With the exception of one medley, the compositions are all his. The liner notes indicate that his music is inspired by specific events or emotions in his personal life, which accounts for the expressionist quality of the songs. A delight for fans of the “six string orchestra.” —Michael Devlin
Doug and Telisha Williams—Rope Around My Heart
2006, No Evil Records
Recorded on the back porch of a Tennessee farmhouse, they sound a little South of traditional Appalachian, almost road-house at times but all acoustic. The duo has been singing together since high school, with Telisha playing mandolin and Doug playing guitar. Telisha has a strong clear voice that can swing with an honest twang or break your heart on a sad ballad. The harmonies are sweet no matter who is taking the lead. They are deservedly joined by stellar multi-instrumentalist Darrell Scott and other fine musicians on mandola, banjo, slide guitar, fiddle, upright bass and percussion. The duo has the confidence to record of Iris Dement’s signature “Our Town” in their own distinctive style. “Shirt On A Rack” visits darker places than the usual folk ballad with the unforgettable first lines, “Just a shirt on a rack in a thrift store, pulls a trigger inside of my head/ And those feelings come back in a frustrating swirl, and there I am again a helpless young girl/ Crying and alone in my bed.” One gets the feeling that national recognition is just around the corner for this charismatic duo. —Michael Devlin
Two Cents:
Black 47—Bittersweet Sixteen
2006, Gadfly
Bittersweet Sixteen refers to the sixteen year career of this New York Irish (not necessarily Celtic) rock fixture. Rare, live and new tracks with lots of relevance and references to the current political situation with pipes and brass. They’ve never sounded better!
Alex Kash—Organic Alchemy
2006, Emotive Music
As is usual for Kash, it’s just him, a 12-string guitar and a bunch of nicely written, generally positive songs in a variety of styles. Kash’s voice is pleasing in a James Taylor-ish way and his guitar work is excellent, establishing moods without being flashy. (Come to think of it, that’s James Taylorish too!).
Rita MacNeil—Blue Roses
2004, Luprock Entertainment
A hugely popular entertainer with her own variety show on Canadian Television in the 1990s, MacNeil sings songs that movingly reflect a mature point of view. She sings her thoughtful ballads to a variety of soft pop accompaniments.
Jay Mankita—Morning Face
2004, Dreams On Tape Music
Mankita has the sweet voice and cheerful manner of a man who also performs children’s shows. Here he sings reflective songs for adults backed by concertina, mandolin and other acoustic strings and his own impressive guitar work.
Alastair Moock—Let It Go
2006, Corazong Records
A unique raspy voice singing folk-rock backed by a killer band. His music leans toward various roots and country genres. Originally released in 2004, it’s too good to have been missed once, let alone twice!
David Wilcox—Vista
2006
Veteran singer-songwriter David Wilcox brings his distinctive laid-back vocals to another set of finely crafted songs. Co-produced with Ben Wisch (his production resume is a who’s who of quality singer-songwriters), the album has a smooth and sophisticated sound.
Slipcrackers:
Grace Griffith—Sands of Time
2003, Blix Street Records
Grace Griffith is known for her work with the Celtic band Connemara, yet her eclectic style and vocals are reminiscent of Judy Collins. The album is produced by Lenny Williams (who also accompanies with a supple touch on piano), Chris Biondo (bass) and Marcy Marxer (guitar, bouzouki, mandolin and accordion). Griffith covers material from such diverse writers as Lerner and Lowe, Kris Kristopherson and Peter Rowan with a singer’s grace and strong sense of melody. It’s not about how high, loud or pretty she sings…it’s all about the songs. If you have been yearning to hear an outstanding singer in a variety of tasty small group settings and beats, this album is for you.
Kazuhiro Inaba—Teardrop On A Rose
2003, Copper Creek Records
At first I thought this was a spoof featuring someone singing old-time country tunes by Hank Williams and others, poking fun at the difficulties that Japanese speakers have pronouncing “r” and “l” sounds, but this is actually a totally sincere and sweet tribute to real country music. Beautifully played with some nice backing harmonies.
Chris Jones—A Few Words—The Best of the Originals
2002, Rebel Records
A collection of material from his albums from 1995 until the present plus three new cuts. He’s supported by some of the best of the young bluegrass players around and his excellent songwriting and singing make it obvious that he deserves their company!
Lùnasa—Lùnasa
2002, Compass Records
A fresh take on Irish Trad with outstanding upright bass. What a difference it makes! Sprited! Reissue of 1997 release.
James Leva—Memory Theatre
2001, Copper Creek Records
This is the first post Jones & Leva album for James. It features John Doyle and Carol Elizabeth Jones. Leva’s extraordinary fiddle playing and American traditional-styled songwriting is in wonderful contrast with Celtic star John Doyle’s bazouki and guitar.
Ivan Rosenberg—The Lost Coast
2001
Just a few notes and it’s very apparent that these guys are good. Wouldn’t you know it, most of Kane’s River is there with a bunch of similarly talented and tasteful players. Their sound features bluegrass instruments played lyrically, great chops in service to the tunes. Essential!
Various—Contra Music—The Sound of New England
2002, Great Meadow Music
This is a collection Great Meadow Music contra artists. Variety is the key here. Piano separates this from other dance music (Celtic, Cajun, Appalachian).
The Waybacks—Burger After Church
2002,
A string band with a bright modern sound. Mostly instrumentals, nice cheerful harmonies when they sing. Fine example of spritited contemporary musicians breathing life into old-time styles.
Weavermania!—Weavermania! Live
2001, Depot Recordings
I have left this album off to the side for quite a while. This whole “-mania” thing has always seemed a little pointless to me when there are good recordings of the original artists available. On listening to this album again I realized two things. One is that this music never stopped being great—you can sing, whistle, hum and tap your feet to these tunes...and probably have for most of your life. The other thing is that America is in a late 50s state of mind, just waking up to the notion that everything is not exactly peachy keen. In a world where a lot is hidden, such as the caskets of our soldiers, and in you face in graphic movies, commercials and pop tunes, it is refreshing to hear music that is subtly subversive. Weavermania! should not be judged by how close the voices are to the original group (although they do come close at times). The Weavers each possessed some of the most familiar and distinctive voices ever recorded. This live album nails the spirit and dynamics of the original, right down to the heavy bass beat that used to rattle my faulty needle in the groove. Michael Smith, Barbara Barrow, Tom Dundee (replaced in their current line-up by Chris Walz) and Mark Dvorak are wonderful in their parts, transcending imitation, becoming more like the latest incarnation of a vibrant musical force. This album is more than worth a listen and to be sure, catching one of their live shows is not to be missed!