Published on Nov 10, 1998
Hearing the amalgam of folk and bluegrass that makes up the true
Americana music is often exciting to follow and develop, even if
the material is created in modern times. While I can appreciate the
fact that such music will not appeal to everyone (I’d be the first
to admit that it’s very much an acquired taste), it is something
that anyone who considers themselves to be serious about music
should listen to on an occasional basis.
The Freight Hoppers, a quartet from North Carolina, is one band
that is dedicated to keeping such music alive in the minds and
hearts of people today. Their latest album
Waiting On The Gravy Train features some incredible musical
performances, but it also shows that vocals are not this band’s
strongest suit. And despite what the liner notes may say about the
purity of the performance, a decent vocal would have helped some of
these songs.
The band – David Bass on fiddle, Frank Lee on banjo, guitar and
vocals, Cary Fridley on guitar and vocals, and James O’Keefe on
acoustic bass – are top notch musicians, and they are obviously
dedicated to their craft. Tracks like “Backstep Cindy,” “Molly Put
The Kettle On” and “Fort Smith Breakdown” show the talents of the
band. The worst thing I could say about their performances is that
often the banjo and acoustic bass are lost in the mix, though they
occasionally pop their heads out to be heard.
When it comes to vocals, though, it is Lee whose work stands
out. Fridley tries her best, but her nasal delivery on songs like
“A Roving On A Winter’s Night” reminds me too much of Shelley
Duvall trying to sing in the movie “Popeye” — it wasn’t the most
comfortable feeling. Unfortunately, it is not something you get
used to over a length of time.
And while much of the music on
Waiting On The Gravy Train should, at the least, pique some
people’s curiosity about this genre of music, a few songs just
don’t have that kind of magic. Fortunately for The Freight Hoppers,
these moments come late in the album; the one song I would say is a
track you could pass on is the closer, “Shortenin’ Bread.”
In the end, though,
Waiting On The Gravy Train is a rather nice history lesson,
even for those who might not like bluegrass or folk. Songs like
“Fall On My Knees”, “Nobody’s Business” and “We Shall All Be
Reunited” help to remind a generation raised on synthesizers and
electric guitar that the music they love still has its roots in a
more acoustic, earthy style of music like what The Freight Hoppers
perform.
All of this said, it still is an acquired taste that might take
a listen or two to really appreciate — but it is well worth the
effort.
Waiting On The Gravy Train is a nice flashback to an earlier
style of music in this country — possibly serving as even the
father of country music — and should be expreienced by anyone who
wants to discover the roots of music in America.