RECORD REVIEWS
David Parmley rolled up the Continental Divide tent a few years back, seemingly ending a family tradition that went back to the 60s even before he rambled the bluegrass highways with his father Don as part of The Bluegrass Cardinals. Alas, Parmley has returned with yet another line-up of Continental Divide, one that bridges the past and the present, and a newly recorded collection of faith-based bluegrass music.
Teaming again with the ageless Randy Graham (mandolin and tenor) and Steve Day (fiddle), David Parmley brings his signature baritone to songs mostly familiar on "Church House Hymns, Volume II" (self-released on DP&CD Records). From the opening notes of Precious Memories, featuring the rumbling, deep vocal presence of (I'm guessing here) bass-playing Matt Wallace, through lively interpretations of Get In Line Brother, Lord, Lead Me On, and Power in the Blood, Parmley and his crew get to the heart of bluegrass gospel. At 11 songs and thirty-five minutes, the album has the feel of those wonderful albums Ralph Stanley used to whip-off in an afternoon. Everything is well-executed, precisely played and sung- there just isn't any room or need for fancy extras.
Parmley's voice is always enjoyable, and he sings here with the control and warmth one has long associated with him. Josh Hymer is provided many opportunities to feature his 5-string (as on The Heavenly Light and the results are very enjoyable.
"Church House Hymns, Volume II" is a rockin' little album of bluegrass gospel- the message is clear but the package is a little less strident than other gospel recordings; there is perhaps a bit more Saturday night spark here than found elsewhere.
Donald Teplyske
Fevor Coulee- Roots Music Opinion
November-2011
Reviews ~
Donald Teplyske writes in his March 29 Fervor Coulee-roots music opinion...
Unlike other Americana genres, bluegrass doesn’t necessarily attempt to examine or reflect the political or economic elements of the time. Not as heavy as folk nor as irreverent as roots rock, the commentary of bluegrass is often more general, balancing light with dark, good with evil, joy with regret, secular with sacred, surrounded by words and music that challenge within a tradition.
“What You Can See From Your Knees,” the second track on the terrific new album from David Parmley & Continental Divide, contains each of these elements, and all in just over four minutes. Given the shadings contained, and the current financial crisis many find themselves headed toward, the song could be forty years old, or it could have been written last month.
Few bandeaders better succeed in making traditional bluegrass relevant than David Parmley, and the current Continental Divide line-up carries on an institution stretching back forty years to The Bluegrass Cardinals.
Parmley remains one of bluegrass music’s most criminally overlooked vocalists. While Dailey & Vincent, Ricky Skaggs, and others garner the headlines and awards, Parmley just soldiers on, singing as he always has, in a manner that appears unadulterated. His voice alternates between low and slightly higher depending on the particular song’s needs, and has never sounded brighter.
The traditional, depending on whom you ask, “Winsborough Cotton Mill Blues” just rocks along, buffeted by Dale Perry on the banjo. Wisdom is contained within each line of “That’s Just Me.” The arrangement of “Refill of Your Love,” cleverly written by David Scott Coffey, would make Doyle Lawson proud, and (I believe) Dale Perry’s tenor vocal on the chorus would seamlessly fit into a Quicksilver set. It is a bright spot among the dozen superior tracks, but far from the only one. “She’s Lying in the Cold, Cold Ground” is a story told a hundred times in various bluegrass songs, but still manages to capture the imagination.
The gospel side of bluegrass is represented by “Lilly Still Blooms in the Dell” and “God Reached Down,” which also presents exceptional guitar work from Parmley. Often not noticed is the clarity with which he picks.
Perry’s 5-string work continues to impress, and (the since departed, from the band) Ron Spears’ mandolin and vocal talents are admirably demonstrated including on his song, “Carolina Rain.” Fleshing out the Continental Divide trio on this album are Ron Stewart on fiddle and Kyle Perkins on bass. The only guest appearance is saved for a notable talent; proving it is always good to have friends, Rhonda Vincent nicely duets with Parmley on the chorus of “Meadow on the Mountain (Where Mama Used to Pray).”
If there is any justice in the bluegrass world, Three Silver Dollars will sell 50 000 copies and will be nominated for the major awards this coming autumn. It is a very satisfying project.
BluegrassJournal.com
Category: CD Review By Dan Tackett
January 19, 2009
David Parmley
"3 Silver Dollars" (Pinecastle Records)
Yes, David Parmley still does honky-tonk
Heartaches and cream. Burgers and fries. Moms and apple pie. David Parmley and honky-tonk music.
They’re all great combinations. Yes, indeed, Parmley is considered bluegrass and not honky-tonk country, thank you. Nonetheless, the songs of broken hearts, cheatin’ spouses, lives just plain gone sour are David Parmley’s forte. I offer into evidence one of his signature concert tunes, the great Sanger D. “Whitey” Shafer classic, “I Never Go Around Mirrors.” Parmley can milk the pain, guts and tears from that barroom anthem with the best. By the best, I’m talking about guys like Haggard and Jones.
So, it’s heartening to hear that David Parmley & Continental Divide put a few of these cheatin’ and hurtin’ songs on the band’s new CD, 3 Silver Dollars, one of Pinecastle Records’ 20th Anniversary releases. For example, “Anniversary of the Blues” and “What You Can See From Your Knees” could have, under different circumstances, been on one of George Jones’ tear-stained set lists.Parmley gives fine interpretations of these pain-and-misery compositions.
But 3 Silver Dollars is not all gloom, doom and tears. The title cut, for example, is a Tom T. Hall gem about a guy down on his luck, but, like a lot of Tom T. creations, the story puts a smile on your face. Continental Divide also offers up a rousing version of a Pete Seeger tune that I’d never heard, “Winsborough Cotton Mill blues.” Like many of Seeger’s songs, this one has a strong tinge of hard times and pro-labor politics, but like “3 Silver Dollars,” it has a real delightful delivery.
Parmley mixes the tracks up well here, offering the sweet “Meadow on the Mountain (Where Momma Used to Pray)” and a couple of nice out-and-out gospel offerings, “Lilly Still Blooms in the Dell” and “God Reached Down.”
The latter tune is one of two songs on the CD written by Continental Divide’s newest addition, Ron Spears on vocals and mandolin. In fairness, I concede to some prejudice here since I’m a Ron Spears fan. I first saw him when he was performing with Chicago-based Special Consensus. He could flat-out bring a crowd to its feet with his powerful vocals. Spears’ two tunes on 3 Silver Dollars also attest to his very capable songwriting abilities. He gets the opportunity to take the lead vocal on his fine ballad, “Carolina Rain.” Spears’ entry into the Continental Divide lineup signals a major change for the band — and especially for Parmley. Spears replaced Randy Graham, who decided to get off the road and lead a more stay-at-home lifestyle as a band promoter.
Long live David Parmley and his penchant for honky-tonk and heartaches.
For Parmley, Graham’s departure had to be akin to Buck Owens losing his famed sidekick, Don Rich. Graham and Parmley’s history dates to the 1960s when they were both in Parmley’s father’s pioneering band, The Bluegrass Cardinals. Graham’s high background harmonies and stage presence as the Continental Divide’s affable front man became signatures for the band.
3 Silver Dollars is Continental Divide’s first CD since Graham’s departure. Perhaps the closeness of the harmony vocals isn’t quite up to the Parmley-Graham benchmark, but it’s well done — and at times, just downright outstanding. “God Reached Down,” the Spears gospel tune, is a good example.
Spears is also quite adequate with his mandolin contributions to 3 Silver Dollars, and Dale Perry, the band’s banjo picker, is rock-solid as a Scruggs disciple could be. But the real instrumental standout that weaves its way throughout this CD is the dazzling fiddle of guest artist Ron Stewart. Little wonder that Stewart’s talents are in high demand on the bluegrass studio scene.
Fans of Parmley and Continental Divide are going to be extremely satisfied with this new recording.
So will bluegrass fans who have migrated to the genre after realizing that true country music, ala Haggard and Jones, is becoming a vanishing art. Long live David Parmley and his penchant for honky-tonk and heartaches.