In the early fall of 2005, Tim O'Brien simultaneously released two albums, Cornbread Nation and Fiddler's Green, on Sugar Hill. And while both dig deep into the fabric of American roots music, the albums also revealed O'Brien's split musical personality, a split that dates back to his work with Hot Rize/Red Knuckles & the Trailblazers during the 1980s. Cornbread Nation gives birth to the more expansive side of his neo-traditional core, allowing him to borrow from country and soul, and to meld instruments as varied as electric guitar and congas to a folk base. The opening cut, "Hold On," features an infectious hillbilly-rock beat, driven by Kenny Vaughan's electric guitar and Kenny Malone's rhythmic base, while the traditional "Moses" affects a gospel feel thanks to the presence of a small choir. "The Foggy Foggy Dew," on the other hand, co-opts a very mellow Western swing, while "Walkin' Boss" comes close -- save the presence of a drum kit -- to bluegrass. Eclecticism, then, rules the day on Cornbread Nation, with players and instruments changing from song to song. Far from scattered, though, the album is underpinned by the dominance of traditional songs like "House of the Rising Son" and "Boat Up the River." Further unity is provided by O'Brien's expressive vocals and exuberant performances by everyone involved. A couple of these songs, especially "Moses," are too long, and the O'Brien originals, like the title track, lack the fire that made his work with Darrell Scott so exciting on Real Time in 2000. Overall, though, O'Brien shows himself capable of adding to tradition on Cornbread Nation without stripping the raw authenticity from these old songs. Experienced with Fiddler's Green, the album represents O'Brien's continued exploration and updating of the best of American roots music. ~ Ronnie D. Lankford, Jr.
Live Recording
Illustrator: Sue Meyer.
Photographer: Michael Wilson .
Arranger: Tim O'Brien.
Personnel: Tim O'Brien (vocals, guitar, acoustic guitar, electric guitar, banjo, bouzouki, mandolin); Tim O'Brien (fiddle); Dan Tyminski (vocals, guitar); Del McCoury, Todd Suttles, Odessa Settles (vocals); Kenny Vaughan (guitar, acoustic guitar, electric guitar); Stuart Duncan (banjo, fiddle); Chris Thile (mandolin); Séamus Egan (whistle); John Mock (concertina); Sam Levine (tenor saxophone, baritone saxophone); Dennis Crouch (bass guitar); Kenny Malone (drums, tambourine); Darrell Scott, Mollie O'Brien (vocals); John Doyle (guitar); Dan Dugmore (steel guitar); Jerry Douglas (lap steel guitar, resonator guitar); Dirk Powell (banjo, accordion); Charlie Cushman (banjo); Casey Driessen (fiddle).
Recording information: Minutia Studios, Nashville, TN; OMNI Sound, Nashville, TN.
Dirty Linen (p.49) - "[M]ore jocular and more electric than FIDDLER'S GREEN. O'Brien contributes a trio of quirky originals."
A fulfilling and stimulating musical transmutation Playing Time - 49:14 -- Tim O'Brien is not afraid to arrange an old traditional number like "Hold On" with electric guitar (Kenny Vaughan) and conga and shaker (Kenny Malone). He recognizes that traditional music is timeless, but he also welcomes the opportunity to incorporate modern sounds right alongside the old. While a bit lengthy, take the 6-minute rendition of "Moses," for example. Kenny Malone's drum kit imparts a solid rhythmic foundation as banjo, fiddle, guitar and four vocalists get spiritual. Tim shows a very adventurous side with the title cut that could have the same significant impact on this century's music as "Hot Corn, Cold Corn" did when Flatt & Scruggs first presented that in the last one. For folks who want to discover how to embody saxophone into traditional music, then they need look no further than Sam Levine's playing on songs like "Cornbread Nation" and "The Foggy, Foggy Dew."
That gives a clue as to why I appreciate O'Brien's releases. Besides his own zestful singing and picking, he also hears accordion, drums, percussion, electric guitar, steel guitar and other instruments right alongside the traditional string sounds of banjo, fiddle, mandolin, and bouzouki. He also branches into various genres such as Cajun with "Let's Go Huntin'," that the supporting musicians also clearly enjoyed too. The blues are best captured on this album when Tim O'Brien and Dan Tyminiski sing "House of the Risin' Sun." Well, Jimmie Rodgers' "California Blues" is full of old-time country moxie and yodeling but also some slightly distorted electric guitar with reverb and driving snare drum. On "Boat Up the River," I would've preferred hearing some banjo and less electric guitar. Bluegrassers will perk up at the original "Runnin' Out of Memory" (with Del McCoury's tenor). A slower country twang permeates the cover of Harlan Howard's "Busted." A number of the songs are only sung solo, and I heard a few opportunities where Tim could've built a few more vocal harmonies into the mixes. However, those looking for vocal harmonies will certainly enjoy the album closer, "When this World omes to an End," with electric guitar, drums, bass, and mandolin accompanying the vocals of Tim O'Brien, Odessa Settles, Todd Suttles, and Darrell Scott.
Tim O'Brien has built a reputation for being able to bring a new sense of contemporary spirit and perceptiveness to older music. With spring coming, "Cornbread Nation" is like a new bloom in the garden. Crossing into a multitude of genres (gospel, old-time, blues, bluegrass, classic country, Cajun) is part of his approach. Creative arrangements are another element. Finally, Tim also likes to hear traditional instruments alongside drums, percussion, electric guitar, saxophone and other non-traditional ones. As long as you like this type of transmutation, you'll find this CD to be very fulfilling and stimulating. (Joe Ross, staff writer, Bluegrass Now)
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