Skip to content
Register |
Lost your password?
Subscribe
logo
  • Magazine
  • The Tradition
  • The Artists
  • The Sound
  • The Venue
  • Reviews
  • Podcasts
  • Lessons
  • Jam Tracks
  • The Archives
  • Log in to Your Account
  • Contact
  • Subscribe
  • Search
  • Login
  • Contact
Search
  • Magazine
    • Current Issue
    • Past Issues
    • Festival Guide
    • Talent Directory
    • Workshops/Camps
    • Our History
    • Staff
    • Advertise
    • Contact
  • The Tradition
  • The Artists
  • The Sound
  • The Venue
  • Reviews
  • Podcasts
  • Lessons
  • Jam Track
  • The Archives

Home > Articles > Reviews > BUDDY MERRIAM AND BACK ROADS, THE FARM

RR-BUDDY-MERRIAM

BUDDY MERRIAM AND BACK ROADS, THE FARM

Bluegrass Unlimited|Posted on April 1, 2015|Reviews|No Comments
FacebookTweetEmailPrint

BUDDY-MERRIAMBUDDY MERRIAM AND BACK ROADS
THE FARM

Lily Pad Records
#535 

Buddy Merriam and Back Roads open their seventh recording with a gently-insistent, minor-key original called “New Echota.” With its descending chord pattern and droning ’60s rock-instrumental feel, it makes for a captivating introduction. Yes, it’s a little long given its repetitive form, but it works well and has an almost hypnotic pull. Merriam says it’s a tribute to Native Americans and, once you know that, the trance-like qualities take on a different context.

That’s the first of five original instrumentals Merriam contributed: two waltzes (“Waltz Of The Pine,” full of twists of interest is the best); a martial-beat, European sounding jig (“41 Degnon”); and a reel (“Avery Anne’s Reel”). All are nicely varied in design. Three tunes are from guitarist and lead vocalist Matt Riley. He sings of the pride of “The Farm” life, his pride in the country on “Live Free Or Die,” and the pride of owning a 1920s Gibson A “Snakehead Mandolin.” On each, he attacks his vocals with a vigor, sometimes recalling the anguished half-shout that Levon Helm used to bring to The Band. That’s particularly up front on the title-cut. At other times, Riley bunches his words, creating a fury. That effect, which is quite propulsive, is most noticeable on “Live Free Or Die.”

Two Monroe tunes are both sung by Riley using a more traditional vocal approach. The first, “Stay Away From Me,” is not one of Bill’s best, but gets a nice backbeat read here. “Bluest Man In Town” is a semi-classic that draws out the best of the band’s bluesy technique. Merriam has been at this a long time and, over those years, he’s developed an intriguing take on traditional bluegrass. The Farm—entertaining, colorful, and varied—showcases his vision in fine fashion. (Buddy Merriam, P.O. Box 862, Sound Beach, NY 11789, www.buddymerriam.com.)BW

FacebookTweetEmailPrint
Share this article
Facebook
Twitter
Linkedin

Leave a Comment Cancel Reply





This site uses Akismet to reduce spam. Learn how your comment data is processed.

March 2023

Flipbook

logo
A Publication of the Bluegrass Music Hall of Fame & Museum / Owensboro, KY
  • Magazine
  • The Tradition
  • The Artists
  • The Sound
  • The Venue
  • Reviews
  • Survey
  • New Releases
  • Online
  • Directories
  • Archives
  • About
  • Our History
  • Staff
  • Advertise
  • Contact
  • Subscriptions
Connect With Us
Facebook
Instagram
Twitter
YouTube
bluegrasshalloffame
tannerpublishing
tannerwest
Subscribe
Give as a Gift
Send a Story Idea

Copyright © 2023 Tanner Publishing Co. All Rights Reserved. Privacy Policy
Website by Tanner+West

Subscribe For Full Access

Digital Magazines are available to paid subscribers only. Subscribe now or log in for access.

Share this ArticleLike this article? Email it to a friend!

Email sent!