Browngrass Band “Sour Bridges” getting lot of praise for their album “Neon Headed Fool” .

Yesterday I started our affiliate web site “Song of the Day” with the song “Do Ya” from the Austin fella’s album “Neon Headed Fools”. After listening to the rest of the album and not having replaced our ex-expensive reviewer it’s down to me to cobble one together.


First impression left me with the Austin Chronicle headline “Texas Trampled by Turtles” and I will probably regret writing that. The band describe their foot-tapping,finger-clicking and head-bobbing music “browngrass, dirtier than Bluegrass”, 10 out of ten for the catchphrase fellas.


With Swiss yodeling, East European influences, Tejano accordion and fiddles fiddling it sure is different Bluegrass but in an inventive, wanting more way. It’s fun and funny, light heartening funny, Fred Eaglesmith funny, you know what I mean and if you don’t go get a copy and dance round kitchen while making breakfast, guaranteed good day to follow.

No filler songs gets Sour Bridge another 10 out of ten. Left-handed banjo’s another 10, Pucci, punchy lyrics yet another 10. In fact 10 out of 10’s all round so I have to knock the artwork as not being up to the standards of the rest of the production.

What amazes me is  that the band has passed me by for the last 9 years, must get their back catalog, maybe if they read this they will send me .WAV files of them, doubt it, the reading not the sending.

It is difficult to give an album 10 out of ten, in fact there are very few out there and they have reached 10  after years of listening, so thanks to the cover work Neon Headed Fool gets a NINE out of Ten, (95%), one in a million rating here at TMEfm radio.



Thanks boys for the snap shot from your web site which is used as a clicky thing to take you there.

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Stuart Wyrick – East Tennessee Sunrise

Wyrick has played banjo with a number of bluegrass groups including the Dale Ann Bradley Band and Brand New Strings and is now a member of Flashback.
His new solo release features top–name bluegrass musicians and a host
of excellent singers.

No one sings “Walking the Floor Over You” like its composer, Ernest Tubb. Originally recorded with just Tubb and Fay “Smitty” Smith on electric guitar, he re–recorded it with the Troubadors. Fiddler Bobby Atcheson doesn’t get air time in this version of Tubb’s many renditions but Tim Crouch shares the kickoff on Wyrick’s version with Keith Garrett singing lead and Kenny Smith covering Billy Byrd’s spot on lead guitar.

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Marley’s Ghost – The Woodstock Session

Veteran Americana collective Marley’s Ghost released their 11th album, The Woodstock Sessions, on July 15th; for the last three decades, the band has been reinforcing and solidifying the genre’s place in the music world, with prowess that spans from roots to rock, from soulful gospel to country, and from blues to bluegrass.

The band celebrated its 30th anniversary with the release of The Woodstock Sessions, helmed by Grammy-winning producer, Americana Music Association Lifetime Achievement Award winner, master of all things stringed, (and Mother Church Pew hero) Larry Campbell, who has worked with countless artists, a roster which includes the likes of Bob Dylan and Levon Helm.
Recorded at the legendary Levon Helm Studios in Woodstock, New York, the album brims with their signature multi-part harmonies and beautifully traditional instrumentation; bookended with bluegrass-y foot-stompers, sprinkled with zydeco-tinged two-steppers and gospel-infused heartstring-tuggers, with a touch of swampy blues mixed in for good measure, this album explores and celebrates every nuance ofthe greatness that is American music.

Mipso – Old Time Reverie

Mipso describes themselves as “renegade traditionalists,” a contradiction in terms that is understandably confusing for those who are unacquainted with the band. But for the initiated, there’s no better description—what else do you say about a group that refashions Drake in the style of classical bluegrass? 
The band’s new album, “Old Time Reverie,” picks up where this renegade tradition left off in their 2013 full-length debut. A little sharper, a little more grown-up, the band kept the same concept: playing with the conventions of old-school bluegrass to end up with something that’s not at all old-fashioned.
The most obvious change Mipso has made since their last album is the addition of Libby Rodenbough on the fiddle. Although Rodenbough has been involved with the band since its early days—she met the group’s three founding members when they were students at the University of North Carolina at Chapel Hill and recorded the violin part for their first EP—”Old Time Reverie” marks her introduction as a full-fledged member, and her addition is a most welcomed one. As the only woman in the band, Rodenbough takes a turn in the spotlight as the lead singer on two tracks—“Down in the Water” and “Everyone Knows”—and her gentle voice makes for a refreshing change of pace. She particularly shines on the latter track, a lush and haunting reflection on a “cold and dark” world. Among Mipso’s greatest strengths are their thoughtful lyrics. “Experimental laparoscopic cardiology” as a solution to a broken heart from “Dark Holler Pop”’s “Red Eye to Raleigh” is one of my all-time favorite lines—and “Old Time Reverie” certainly delivers on this count. More so than “Dark Holler Pop” did, “Old Time Reverie” experiments with storytelling. “Bad Penny” takes the cake for uniqueness, with a jaded Abraham Lincoln come to life from the surface of a coin chasing the singer through New York, offering life advice as he goes. The opening track “Marianne” is also daring, but in a different way—told from the perspective of an interracial couple deciding to leave the bigotry of their hometown. But the band isn’t always trying on other personas for size. The album’s most emotional song is one of the most personal. In “Momma,” mandolin player Jacob Sharp describes his mother’s death from ovarian cancer four years ago, naked grief apparent as his voice climbs into its upper register to ask “Am I still so lost?”. The record is just as earnest as “Dark Holler Pop,” but it’s more polished—a slight upgrade across the board. As Sharp told Recess this summer: “I don’t really think it’s a departure, but we are just naturally becoming more of our own with what we are involved with.”

The Steeldrivers – The Muscle Shoals Recordings

The SteelDrivers are a Nashville-based bluegrass band whose members aren’t afraid to highlight the blues and R&B influences in their music, so it makes sense that they’d want to record in Muscle Shoals, Alabama, the city that produced some of the greatest soul music of the ’60s and ’70s, including major hits by Aretha Franklin, Wilson Pickett, the Staple Singers, and Solomon Burke. Of course, the Muscle Shoals Sound Studios where all those sessions took place is no longer a going concern, but apparently working under the belief that there is something in the water in Colbert County, the SteelDrivers booked time at NuttHouse Recording Studio in nearby Sheffield, Alabama, and The Muscle Shoals Recordings is the fruit of those sessions. If the title were meant to suggest to fans that this was the SteelDrivers‘ homage to classic soul music, well, that’s not how the finished product plays. Where there’s an honestly soulful undertow to songs like “Drinkin’ Alone,” “Here She Goes,” and “Day Before Temptation,” The Muscle Shoals Recordings is a straightforward bluegrass set that walks a tightrope between traditional and progressive styles, but doesn’t make much effort to break new stylistic ground. Of course, that’s criticizing The Muscle Shoals Recordings for what it’s not, when what it is happens to be solid and quite satisfying. The five SteelDrivers are outstanding pickers and vocalists who play beautifully, individually and as an ensemble, especially fiddler Tammy Rogers and banjo man Richard Bailey, and they’re gifted songwriters who’ve brought a wealth of fine original material to the table for this album, including “Brother John,” “Long Way Down,” and “Six Feet Away.” They also wisely brought in Jason Isbell to produce and play on a few tracks, and his presence is unobtrusive but a genuine asset. The Muscle Shoals Recordings isn’t soul music, but it does happen to be music played with soul, heart, honesty, and skill, which means in its own way it isn’t so far from the music that came from 3614 Jackson Highway after all. And if the title suggests a concept that isn’t quite there, the music speaks for itself, and what it says is eloquent and deeply pleasing.

Della Mae – Della Mae

The Boston-based modern bluegrass quartet Della Mae received a Grammy nomination for their Rounder debut, 2013’s This World Oft Can Be, their second album overall. The Del McCoury Band won it, but the nomination showed the size of the league that Della Mae plays in.
On this self-titled effort, they enlist veteran producer Jacquire King (Tom Waits, Norah Jones, Melissa Etheridge). Musically, they didn’t need to do anything radically different — and they don’t, but there is a marked difference here. It can be attributed to the confidence that comes from playing together for six years. As a result, the songwriting and arranging have grown immensely. Adding Mark Schatz‘s upright bass on this date adds not only depth, but weight and emotional heft to these songs. On “Rude Awakening,” his riff-like pulse adds a near rock & roll heaviness to the meld of country gospel, blues, and bluegrass. On “Can’t Go Back,” he plays arco, offering a harmonic and textural counterpart to Kimber Ludiker‘s fiddle and Jenni Lyn Gardner‘s chunky mandolin. Lead vocalist/rhythm guitarist Celia Woodsmith and lead guitarist/banjoist Courtney Hartman (who also sings harmony and takes the mike on the spooky “Long Shadow”) wrote these two songs (and three others) together. They are a dynamite team, intuitively aware of how to balance the group’s sense of melodic adventure with their instrumental prowess and startling collective singing. They also co-authored the swinging, bluesy “Shambles” and the straight-up bluegrass number “Take One Day.” There are three covers on the set as well, among them a tender, wrenching version of the Low Anthem‘s “To Ohio” and a world-weary version of the Rolling Stones‘ “No Expectations” with great slide guitar work from Hartman. The closing number, “High Away Gone,” though brief, contains some real experimentation with sound and texture — the application of reverb, a skeletal banjo, droning musical saw (courtesy of Elephant Revival‘s Bonnie Paine), layered harmony vocals, and Woodsmith singing both the call-and-response parts — and it’s chilling. On this album, Della Mae expand their roots-and-groove quotient, and extend the margins in their writing without sacrificing either the virtuosity and sparkle in their performance or the root persona in their sound.

The Steep Canyon Rangers – Radio

The Steep Canyon Rangers have spent much of their career walking a fine line between traditional bluegrass and acoustic music with a strong contemporary pop and country influence, and they’ve blurred the lines between the two sides of their musical personality more than ever before on 2015’s Radio. One of the key differences on Radio is the addition of a sixth Ranger, percussionist Mike Ashworth, and even though his kit primarily consists of just a box played with brushes, his steady pulse subtly but clearly points to the melodic hooks in numbers like “Simple Is Me,” “Blow Me Away,” “Long Summer,” and the title tune, and without having to plug into an amp, the Rangers set themselves apart from bluegrass acts who prefer to pretend it’s still the early ’50s. At the same time, these musicians are remarkably skilled, both as individuals and as an ensemble, and when they do dig into their bluegrass roots, they do so with a clear love and respect for the form, and with “Blue Velvet Rain,” “Looking Glass,” and “When the Well Runs Dry” they show just how fresh they can sound while working within a tried-and-true framework. It’s a thrill to hear a band this good playing together, and Ashworth, Mike Guggino (mandolin), Charles R. Humphrey III (bass), Woody Platt (guitar), Nicky Sanders (fiddle), and Graham Sharp (banjo) are as gifted as any young band in bluegrass, with each member earning his stripes when stepping up for a solo, and coming together with outstanding ensemble work and spot-on harmonies. Produced by Jerry Douglas, who captures the group’s musical interplay beautifully and contributes some fine Dobro work as well, Radio is an outstanding album from one of the most exciting new bands in bluegrass, and if you know them best for their work with a certain talented banjo-playing comedian and actor, you owe it to yourself to find out how much they can do on their own.