An  Appalachian Songbook
Mason Brown And Chipper Thompson have created an album for the ages. Reaching back into America's history to pull together songs you may know but giving them a new lease on life and performing them in their own way, which is just what you are supposed to do. There is one exception however, Chipper Thompson wrote the song, No Man Can Hinder, which blends so well with the rest of the material at first listen you may not realize that it is indeed new material. All in all an excellent sound, an excellent album.

taken from elsewhere ....

I wonder if everyone has an album like this? An album of which they are sure is some of (if not the) best music in the world, yet is so deeply personal to themselves as no one else has even heard of it. I got this CD when I was pretty young, although I couldn't pin down the age I was, and it was probably the first music I truly loved. I was drawn into this weird world of, I quote, "Celtic songs of love & war! Appalachian  murder ballads!" This album just creates such a rich tapestry (yep, music journalism cliché right there), that I can't help becoming lost in the stories the songs describe. Throughout the proceedings hypnotic guitars, bouzoukis,banjos, bass fiddles, bodhrans, mandolins, and even a sack of junk create a backdrop to the often morbid and harrowing tales hidden within. Having listed all those instruments I have to add that the album often remains quite stark, as not many of these are used at any one time. To add to all this, both musicians have amazing voices.
The concept of this album:
Two amazingly accomplsihed musicians get together to explore Appalachian music. They explore the history of the music from its celtic roots, influence from black slaves (notably the introduction of the banjo) to travelling medicine show songs. The collection is at once diverse and coherent. All the songs but one are traditional songs, but Brown and Thompson prove their originiality through their meticulous arrangements, and even new lyrical twists.
Pretty Peggy-O kicks off the album. You may be familiar with this song through artists such as Simon & Garfunkel, and Bob Dylan. The liner notes, in fact, mention that this song was chosen as a tribute to the 50s-60s folk revival. Mason's wonderful voice and intricate guitar picking are at the forefront, backed by Chipper's harmonizing vocals and bouzouki (a kind of big mandolin) further in the background. I cannot stress enough the easy hypnotic effect of this music. Not surprising since Mason Brown spent a while studying Zen in a Japanese temple (he became known as Gai-Jin Banjo Playing Priest). Next the tempo increases for a rendition of the (in)famous story of Frank and Jesse James. This is played in a more bluegrassy style, with a brilliant, wild, unrestrained (but not untrained) lead vocal from Chipper. This is another truly captivating song. Wars of High Germany is of Scottish origin and is simply beautiful. This tale, told from a wife or sweatheart's point of view, of a soldier going to war, never to return, could be sung by no one other than Mason Brown, and be this sincere. His guitar and Chipper's Bouzouki are the perfect accompaniment.
Bruton Town is where things get really serious. This is the first real murder ballad, and Chipper, although his voice is slightly less wonderful than Mason's, sings it perfectly. This tale of an over-protective brother murdering his sisters lover is accompanied by wonderful banjo, bazouki, bass fiddle, and an absolutely trance-inducing, unchanging bodhran rhythm (maybe a krautrock fan could dig this song...). Apparently the duo learned this song from a Sandy Denny version, and they decided to "appalachify" this English folk song. Going to the West, on the other hand, is Americana through and through. Chipper once again turns in a great vocal over the very softly played guitar and bouzouki. It is noticable that Chipper has a slight hillbilly twang in his voice compared to Mason's deeper smoother performances. Mason once again takes the lead vocal for the framed narrative of The Verdant Braes of Skreen. The banjo playing in this song is great.
Banks of the Ohio is the first song I fell in love with on this album, and remains one of the most captivating to this day. Chipper tones down his voice for once, in a truly emotive performance. Who could sing such a dark song without emotion in their voice. I have been known to give a soulful performance of this in the shower on several occasions. This is the tale of a man drowning his true love, after his marraige proposal is turned down. The accompanying instuments are suitable minimal. Just a sad mandolin, and a very quietly mixed bowed bass. Oh Death will be the most familar song to many people approaching this album, due to the haunting rendition in the wonderful film O, Brother Where Art Thou. This version is significantly different though. This funeral song is almost morbidly upbeat. The bodhran features prominently in this song. God Moves on the Water is another album highlight. Chipper's wild singing perfectly suits this account of the Titanic disaster. Instrumentally this song has more going on than most of the album, with a slide bouzouki, banjo, bodhran, two tambourines and a bass fiddle in the mix.
To me, the undoubted highlight of the album is The Trees They Grow Green. This haunting, ancient English ballad includes some of the most pleasing singing I have ever heard, courtesy of the amazing Mason Brown. The subtle intonations of his voice are so perfect. The usual duo of Mason's guitar and Chipper's bouzouki is employed perfectly for this song, creating such a mesmerizing backdrop for the tragic story. During the instrumental section a tuneful wailing can be heard in the background, as wonderful little flourishes are plucked on the instruments. Without a doubt the most moving song ever (this is a subjective thing obviously). The brief Pesky Sarpent is very bluegrassy in feel. Apparently Mason and Chipper composed their own melody, as the orignal sounded "stilted and out-of-date". This is supposedly one of the oldest songs of definite American origin. No Man Can Hinder is the only original song here, penned by Chipper during the recording sessions. This bizarre voodoo-ish song blurs the boundaries between Old Time and Rock n Roll. It is obviously played on a couple of acoustic instruments (guitar and banjo), but played with a ferocity that would make Led Zeppelin blush. For some reason I can see fans of Dr. John likeing this particular song.
Lady Gay returns to a more traditional folky vibe; it is a Mason-sung ballad about children dying, accompanied by guitar, mandolin, bodhran, and according to the liner notes, feet! This also includes more harmonic background wailing. In Rove, Riley, Rove, Mason lets rip his most unrestrained-hillbillyish vocal, for this rollicking banjo-driven tune, probably used by travelling medicine shows. This is the most fun song a generally sombre album, yet it doesn't feel out of place. This fun is just a brief dalliance, though, before the most mournful song known to man: the monolithic title track. Chipper takes the lead hear, but the harmony singin' of Mason is absolutely vital. The only accompany is a slowly bowed bass fiddle, played quietly in its lowest, deepest registers. This song also captivated David Tibet, and the song appears eight(!) times on Current 93's 2006 album, Black Ships Ate the Sky. I don't know where Tibet first heard this songs, but it would be nice to think he also heard this album, and we share this (all too) well-kept secret.