Old Dollar Bill. Live & Cookin’

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East coast Blabber’n’Smoke favourites Old Dollar Bill haunt the taverns of Edinburgh on a very regular basis playing just about anywhere and with almost anyone who can play a tune. By all accounts they can turn just about anywhere into a riotous occasion with their rousing two man take on jug band, country, blues and folk songs. Live & Cookin’ is a fly on the wall snapshot of a recent appearance in Leith Folk Club where they were joined by double bassist Michael Weidenhof and while the recording lacks some oomph it does a fine job in capturing their live act with five songs that brim with energy and enthusiasm. Percussionist Ed Henry scuttles around for all he’s worth on his kit as guitarist Stephen Clark scrubs and picks with vigour while Weidenhof lays down a firm bass line.
They offer three covers, Robert Johnson’s Hot Tamales (They’re Red Hot), Lefty Frizzell’s Sick, Sober and Sorry and Flatt & Scruggs’ Sleep With One Eye Open that are all taken at a brisk pace while two originals, I Swear I Killed My Liver (Over You) and Move On show that they can conjure up songs that stand up well against their venerable forebears. Above all they convey a great sense of fun, fun for the audience and also themselves as Clark and Henry trade vocals and mesh as only a pair who play together several times a week can do. Live & Cookin’ wasn’t a planned release but the pair decided that the recording was good enough to share with their audience after listening to it although by the last song Clark’s voice is somewhat strained. Available from their website or at live shows I reckon that it will be snapped up by anyone looking for a souvenir of their night but if you’ve enjoyed any of their studio releases it’s well worth investing in for only a fiver.
Here’s a video of the pair at Leith Folk Club a year previously performing the opening song here, Hot Tamales (They’re Red Hot) to give you a sense of what to expect although the CD sound is much superior to that of the video.

Rose’s Pawn Shop. Dancing On The Gallows

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Touring over here soon Rose’s Pawn Shop are a vibrant bunch who play with a kick in their step with their banjos and fiddles well to the fore. Based in Los Angeles they seem to have a reputation there as a good time party band be it playing in theatres or busking on the streets. There definitely is a Celtic swing to some of their songs which as we all know makes for good time listening. Dancing On the Gallows is their second release and was released in the States back in 2010 however it’s getting a push on the back of their UK tour.
Opening with the almost Irish strains of the title song there’s a rollicking good time feel with lashings of banjo and some great harmonies and they continue in this vein with the fiddle and guitar duet on Danger Behind The Wheel. The Bed in Which You Lie adds some rhythm section oomph and beefs up the guitar giving the song a fine honky tonkin’ truck stop vibe while Pine Box reins in the band’s more extravagant flourishes and contents itself with being a very fine medium paced ballad. The highlight here, Pine Box flows like all good Americana songs should as if one was driving on an endless highway and there are some fine guitar flourishes that are reminiscent of the Allmans’ back in their heyday. Almost as good is the following Box Of Flames which pummels along like a runaway train before reaching an exciting guitar driven climax. If they can achieve this level of intensity live then I’d venture they are a sure bet to go and see.
Tour dates are here with two Scottish gigs including an Edinburgh date at Bannermans Bar on Monday March 4th where they will be supported by those fine friends of Blabber’n’Smoke, Old Dollar Bill

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Old Dollar Bill. Lucky From Kentucky.

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It was Neil Young who sang “ Homegrown is the way it should be. Homegrown is a good thing. Plant that bell and let it ring.” Old Neil might have been singing about something else altogether (answers on a postcard!) but it’s gratifying to find that there’s a good deal of homegrown bands and songsters in the best wee nation in the world who can take on Americana type music and deliver their own take on it with a degree of authenticity but more importantly portraying their feeling and affection for the genre.
Bands such as The Wyntown Marshals, Dropkick, The Ballchulish Hellhounds and the late lamented Southpaw are all fine examples of Scots bands who can deliver the real thing and the list can be expanded almost ad infinitum if one looks at the likes of Teenage Fanclub and The Vaselines who exported the proverbial coals to Newcastle.
Old Dollar Bill are a grand addition to the local canon of Scots combos who can summon up a genuine feel for American music. In their case it’s old time good time stringband hoe-downs and rollicking country songs. Their debut album was as fine a piece of Scots Americana as we’ve heard in a long time and now on their second release Lucky From Kentucky they consolidate their sound, relying less on their undoubted instrumental prowess with the inclusion of several fine songs that broaden their appeal.
Comprised of Stephen Clark (guitar, mandolin, banjo and Dobro) and Ed Henry (Cajon, drums and percussion) (supplemented by Edinburgh musicians Martyn McQuade on double bass, Neil Pearlman, piano, Tom McAweaney, fiddle, Owen McAlpine, harmonica and Gill Swan, harmony vocals on various cuts) Old Dollar Bill cut a fine cloth with ten songs all self written that range from the swamp blues of My Love She Did Wear A Disguise to the triumphant closing good time swing of Lucky From Kentucky. My Love she Did Wear A Disguise is a great opener with Clark snarling a tale of betrayal that cleaves to a folk tradition but with the menacing Dobro and clattering percussion relocates it to a swamp ridden murky voodoo land. One More Shot To Kill The Pain is a straightforward country stomp with fine harp and piano playing with the lyrics appearing to portray a typical Edinburgh bar although there’s no hard drinking “Rebus” type detective propping up the bar along with the unemployed graduate and the war veteran. The Man With The Hurtin’ Smile slinks along gracefully with some nice Dobro and mandolin fills while McQuade’s bass burbles along nicely. Henry takes over the vocals on the heartworn tale of a John fleeced by a pretty girl and excusing her as he says “I see the pain in her eyes/where she’s cut off social ties/she doesn’t look too well/she’s living in her own little hell.” This is a great little song with expressive harmonica, intricate percussion and excellent guitar, Dobro and mandolin; it’s reminiscent of The Nitty Gritty Dirt Band circa Hollywood Dream which is no bad thing. The Place is another roustabout country ditty while Hey Y’all plants the fiddle firmly in the foreground for what is a fiercely danceable hoe-down. Clark returns to the fore vocally on the fine This Feeling with his mandolin propelling the band as Henry’s percussion adds to the drive. The Last Good Time is a departure of sorts for the band as they rein in the toe tapping vibes and deliver an emotive ballad that has rippling piano and female harmony vocals. It comes across almost like a Bruce Cockburn type song, plaintive and affecting it sounds great here. Home Lovin’ Man which follows seems to be another attempt to add an extra dimension to the band. A pared back stumble with emotive harmonica it has a fine lazy feel but the intrusive finger clicks that feature throughout are somewhat distracting. They close the album with the title song (aided and abetted by Woody Pines and members of The Wilders). Lucky From Kentucky is a barnstorming closer that must go down a storm live with its opportunities for the singers and instrumentalists to add to the energy that is already present on the recorded version. Old Dollar Bill play regularly in the drinking dens of Edinburgh and on the strength of this should be seen well before any ghost tours.

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Woody Pines. You Gotta Roll.

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We first came across Woody Pines back in 2009 when we reviewed his album Counting Alligators which was a fine slice of old timey songs. Woody also popped up on an Old Dollar Bill release at one point. Now we’ve got this excellent EP released to coincide with their current UK tour. Five songs long with a brief intro that sounds as if one were tuning into an old radio show it bodes well for the shows portraying as it does a tight and fast picking band with a sure hand on the old Americana tiller. Although the songs are all covers Woody and his band own them here. From the opening traditional Long Gone Lost John we’re in country swing territory with Woody playing some fine snappy guitar runs that fuzz and bite while clarinet reinforces the jazzy feel embedded in the best of that genre. As they hurtle to the end of the song they swing like a bell on what is a great opening song, punchy and defiant. The smooth acoustic drive of Doc Boggs’ Ain’t Gonna Be Treated This way is embellished with some spooky resonator guitar that echoes the wide lonesome plains while Leadbelly’s Ham & Eggs rocks with a neat fifties style and again features some nifty guitar work. Hank Williams’ Can’t Keep You Off My Mind is given a laid back (or as laid back as they get) honky tonk feel with Zack Pozebanchuck’s upright bass a special delight here. The all too short disc ends with another traditional song Treat You Right with much finger picking, harmonica and muted organ that reminds you of just how groovy and infectious old time country music can be when it’s in the right hands.
With Woody in fine fettle on vocals and demonstrating some fine guitar and harp skills the rest of the band (Lyon Graulty, guitar, vocals, Zack Pozebanchuck, upright bass and Mike Gray, drums) more than keep up with him and much of the delight in listening to this is in the individual contributions of each adding to a very nice whole. If they sound half as good live then get thee to a show.

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Long Gone Lost John

Woody Pines is currently touring the UK.

Tues Apr 17: The Acorn Theatre, Penzance
Wed Apr 18: Chichester Inn, Chichester
Thurs Apr 19: The Chattery, Swansea
Fri Apr 20: The Beach, Clevedon
Sat Apr 21: Bridge House Theatre, Warwick
Sun Apr 22: The Canteen, Bristol (afternoon)
Tues Apr 24: Red Room, Cookstown, Co Tyrone
Weds Apr 25: The Atlantic Bar, Main Street , Portrush, Co Antrim
Thurs Apr 26: Clonmel, Co Tipperary
Fri Apr 27: The Glens Centre, Manorhamilton, Co Lietrim
Sat Apr 28: Seamus Ennis Centre, Naul, Co Dublin
Sun Apr 29: Laurie’s Acoustic Music Bar, Glasgow
Tues May 1: Old Library, Kilbarchan, Renfrewshire
Wed May 2: Harbour Arts Centre, Irvine
Thurs May 3: Aros Centre, Isle of Skye
Fri May 4: An Tobar, Tobermory, Isle of Mull
Sat May 5: Brew at the Bog, Bogbain Farm, Inshes, Inverness Tickets
from http://www.ticketsoup.com – 0844 3954000
Sun May 6: Woodend Barn, Banchory
Tues May 8: Leith Folk Club, Victoria Park House Hotel, Edinburgh
Wed May 9: The Catstrand, New Galloway
Thurs May 10: Woodlands Hotel, Broughty Ferry
Fri May 11: Adam Smith Theatre, Kirkcaldy
Sat May 12: Heart of Hawick auditorium, Scottish Borders
Sun May 13: Saltburn Community Theatre, Saltburn-by-the-Sea

Mairi Orr. The Gathering Crows.

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In the dying days of Celtic Connections we heard that good friends of Blabber’n’Smoke, Old Dollar Bill were venturing west to support Mairi Orr at an Open Stage gig. The Open stage is a free daily show featuring several artists who have the opportunity to play to a very appreciative audience. It’s one of Celtic Connections’ finer aspects and was inspired by the late and great Danny Kyle.
Anyway, Mairi, originally from Morar in the west Highlands but now living in Edinburgh, appeared with her “borrowed band,” and delivered a fine set featuring songs from her sparkling debut disc, The Gathering Crows that went down a treat. Intrigued we sought a copy and for the past two weeks have been very impressed.
The Gathering Crows is a five song collection with all titles written by Orr and featuring support from Stephen Clark and Ed Henry of Old Dollar Bill among others. It positively bursts at the seams with a vibrant quality and the maturity of the writing and playing is unexpected from someone just stepping onto the stage.
Orr’s voice has a magnificent presence. Strong and melodic she could fit well into that pantheon that includes Sandy Denny, Linda Thompson, Jacqui McShee and in particular the enigma that is Shelagh McDonald. The latter is particularly recalled on two songs here, the title song and the opening For Gold. Both songs are baleful tales, chilling in their delivery with some superb backing, the Dobro in For Gold snakes menacingly throughout while on The gathering Crows the guitar, mandolin, bass and percussion thrash together in a propulsive audio equivalent of a murder of crows. A third song, Will You is delivered very much in a folk style that does recall early Denny and it features some exquisite fiddle by Amy Geddes. The two remaining songs display a more American influence. Sweet One has an urgency that owes a debt to bluegrass while Two Different States of Mind features just Orr and banjo from Mark Woods on a tantalising murder ballad.
A great debut and a mention must be made of the excellent supportive players, Stephen Clark, Ed Henry, Hugh Kelly, Mark Woods and Amy Geddes who all add a very authentic and well played backdrop to Ms. Orr’s very talented delivery.

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For Gold

The Dirty Beggars. Bite The Bullet

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Blabber’n’Smoke first came across this young band from the Borders when they supported The Wilders back in May of last year. Since then they’ve been to the States and now unveil their debut album to coincide with their slots at Celtic Connections. Nailing their colours firmly to the mast Americana music is their thing with bluegrass and string band playing well to the fore. It’s to their credit however that they’ve populated the album with nine originals and not an American song in sight. The one cover is the title song which was written by the late Peebles artist Bryan Begg and it’s of note that this is the second release in the recent past we’ve come across which has been dedicated to his memory (the other being Old Dollar Bill’s Across The Tracks EP).
Much in the way of Old Dollar Bill The Dirty Beggars have drunk from the well of traditional American music to the extent that they can regurgitate songs that sound as if they were whittled out of experience and hard living in the Appalachians and frontier towns. They can deliver lighting fast string driven hoedowns and wearied ballads although they shine best on the latter. Tunnel Light in particular is a splendidly nimble and poignant song with some fine playing and wise words from such a young band. Nashville Wave Goodbye is a great cautionary tale of a would be musician’s life lost in the drinking dens of Music City. With a great chorus and splendid harmonies this could be a hit in that titular town if anyone would listen. Underneath The Sky captures the band playing at their best with all the elements coalescing into a classic song.
Of the faster songs Too Tired (To Work That Farm Today) has a charming country bumpkin lift to it while When The Cockerel Crows skitters along with zest. The band cap the album with a fine and tender rendition of the Beggs’ song Bite The Bullet, a sombre note perhaps but a fine end to what is an excellent introduction to this fine young band.
The Dirty Beggars play Celtic Connections today. There’s a fine interview with them here.

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Nashville wave Goodbye

September Songs

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Gwendolyn. Bright Light

A child of California, Gwendolyn first came to Blabber’n’Smoke’s attention when she released Lower Mill Road, a 2007 album recorded in Scotland with players such as Chris Drever and John McCusker. With this, her fourth album she’s left the Incredible String Band influences evident on Lower Mill Road behind and welcomed country music with open arms. With a voice that is a cross between Melanie Safka and Dolly Parton she’s joined by her regular band who play an idiosyncratic selection of instruments including found percussion and glass harmonica. Despite this the overall sound is fairly traditional and throughout the album there is an impish and infectious sense of joy. The songs range from the Bakersfield country pop sound of Tater Tots and Whiskey Shots to the Nanci Griffith like Discover Me. Ably assisted by a clutch of guests including Tony Gilkyson, Josh Grange and some of I See Hawks in LA there are snatches of fiddle and guitars, both steel and twang, popping up when one least expects it. With all of the songs written by Gwendolyn she has produced an excellent set that harks back to tradition while stamping her own quirky personality all over. Listening to this I was reminded of Michelle Shocked’s Arkansas Traveller, another album that explored country roots. Gwendolyn’s effort is just as ambitious and overall is a tremendous listen with repeated hearings unveiling new delights. Well worth checking out.
website
Bright Light

Rum Drum Ramblers. Mean Scene

At the last Pokey LaFarge and the South City Three gig in Glasgow, washboard and harmonica player, Ryan Koenig pressed into my hand this fine album. Recorded by him and fellow South City Three member, Joey Glynn (upright bass) with Mat Wilson on guitar and vocals this will delight anyone who enjoys Pokey’s blend of old time swing and blues. The vibe is essentially the same and the third member of the South City Three, Adam Hoskins appears on slide guitar. The addition of the Funky Butt Brass Band on several songs offers a more pronounced jellyroll type jazz sound while Wilson’s vocals are mellower than Pokey’s. Comparisons aside the Ramblers are indeed a mean machine with some magnificent interplay between the instruments, a sly jive talking style and an obvious love of their influences. All 12 songs are gems with the standouts being Jack and Tom, a rattling introduction to the album, If It Have To Be with its vintage sounding blues guitar licks and Do You which has a decided Michael Hurley feel to it.
Well below the radar you’ll need to go to CD baby or Amazon to buy or download this but it’s a guaranteed winner.
http://www.myspace.com/rumdrumramblers
Jack and Tom

Old Dollar Bill. Across The Tracks

When what appeared to be cash money came tumbling out of the envelope we thought that at last someone had figured out that payola should not be restricted to members of parliament. Unfortunately it was a fake dollar bill from our old friends in the east, Old Dollar Bill, the mighty Edinburgh duo of Ed Henry and Stephen Clark. Hot on the heels of their collaboration with the Wilders and Woody Pines comes this four song EP. Maintaining their expanded palette with guest musicians from the Edinburgh folk scene (Martin McQuade on double bass, Owen McAlpine, harmonica, Mairi Orr, harmony vocals and Tom McAweaney, an old, old friend of Blabber’n’Smoke on fiddle) Old Dollar Bill deliver a great little bundle of tunes that sound as if they could have been played by bunch of genuine hillbillies. Clark excels on mandolin, Dobro and banjo while Henry’s percussion and especially his use of the Cajon adds an extra layer of enjoyment to what are already fine songs.
The EP opens with Move On, a driving romp that warns of the perils of gold digging women. Bright Light is drawn from the tradition of Appalachian dirges such as Oh Death and has some spine tingling vocals and fiddle playing. Hats Off to Begg (dedicated to the late Bryan Begg, a musical compadre of the Bill) is a heartfelt tribute that has a soulful southern blues slink to it. The EP closes with The Cold Gin Waltz, an instrumental that highlights the Celtic influence on Americana and could easily have featured in a movie such as Cold Mountain.
Old Dollar Bill seem to grow in stature with each release and this one is well recommended. .
Myspace page
The offending Old Dollar Bill

Move On

Old Dollar Bill. Lucky From Kentucky.

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When I wrote about the latest Wilders’ gig in Glasgow I noted that they had appeared here so often recently they were becoming akin to locals. Interesting then that they have indulged in a spot of musical miscegenation, teaming up with Edinburgh duo Old Dollar Bill for this release. Furthermore it’s a bit of a menage a trois as another popular visitor, namely Woody Pines is also involved.
Before we get too confused what we have here is a one track CD single, the title song from the forthcoming Old Dollar Bill album, their second. Before you ask “why should I buy a single with one song that’s going to be on the album anyway?” I’d point out that, in this day and age of digital downloads it’s an actual physical artefact and comes with some very attractive packaging and for the price of a pint is well worth getting.
As for the song itself Old Dollar Bill and the tourists (as they’re described in the notes) spend almost six minutes on a splendidly loose limbed picaresque tale of a “whisky drinking, finger pickin’ bluegrass man.” The bass playing of Nate Gawron and Dobro from Phil Wade certainly fill out Old Dollar Bill’s sound. Woody Pines introduces the song and Stephen Clark and Ike Sheldon swap vocals. Like Hank Williams without the heartbreak it’s good time music and it sounds as if they had a whale of a time recording it. The enthusiasm certainly spills out of the speakers. It’s a tremendous performance and akin to having a jam session in your room.
Available at gigs and here it’s a great opportunity for fans of all three bands involved to get a piece of the action. You can hear it on the Old Dollar Bill MySpace page.

Old Dollar Bill.

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This debut album from the Edinburgh based country duo, Old Dollar Bill is a definite progression from their EP Cheap But Sweet released last year. While the EP was composed of Steve Earle covers and songs lifted from Springsteen’s Seeger project here we have a collection of songs all composed by the band themselves. While the Earle influence remains evident (on Friendly Fire for example) they can hold their head high with this offering. For a two-man band (with additional support on piano, accordion and fiddle from friends) they can certainly whip up a storm, guitars, mandolins and banjos whip and flail throughout. Clark carries most of the vocals in a convincing manner while Henry adds just the right touch of percussion with one track in particular, the instrumental Bill’s Ruckus where he thunders away to great effect using a Brazilian Surdo drum and 2 or 3 bass drums.
While there are obvious debts to the likes of Ry Cooder and the Band (Levon Helm in particular) the songs in the main stand up to scrutiny. Romance, booze, the Devil and booze again all feature. Of the drinking songs Me And My Wine is a wonderful boozy waltz while Drink With Me is a particularly tuneful country pop song that one can imagine Gram Parsons could have crooned. Clark’s vocals almost match some of Parsons’ southern nuance with a hint of the Stones’ country leanings and the piano playing (by Neil Pearlman) adds a wonderful honky tonk feel. I Swear I Killed My Liver (Over You), apart from earning points for its wonderful title is a classic country drinking song delivered with gusto. Befitting their urban hillbilly attitude Cousin Kelly is chock full of tasty licks and feisty fiddle playing while Henry’s vocals capture the housing scheme day time TV attitude perfectly. Caroline (The Devil’s Bride) is a tale of a young man humbled when the tables are turned and he feels used and abused by a flighty female. On a lighter note there is the sweet and sour tale of the singer’s admiration for a waitress on Tables For You while the final song Throw in The Towel fires on all cylinders. Clark spits out the words while his mandolin and Dobro spark against each other in a song that the Pogues might have been proud to have penned.
Old Dollar Bill appear regularly in Edinburgh, hopefully they will be over here in the west to see if they can carry these songs off as successfully as they do on the album. Check out Ike Sheldon of The Wilders endorsement on the image above, just about says it all I reckon.
Website here
Listen to Drink With Me