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LOST HIGHWAY – Bluegrass the way you like it When Lost Highway decided to do an album of favorite traditional bluegrass
classics, they glanced at their set lists and picked a dozen classics for
us. The album starts at a leisurely pace until the band jumps into overdrive
at track five with “Paint the Town.” Then, the album returns
to songs with adagio and andante (moderate) tempos. Drawing heavily on
material from the Stanley Brothers and Lester Flatt, Lost Highway demonstrates
that bands from California also know how to proficiently play the traditional
stylings of Appalachia. With the exception of the instrumental written
by Bill Emerson (“Reynard in the Canebreak”), all of the cuts feature Lost Highway’s nice
vocal trio blend of Ken Orrick, Eric Uglum and Dick Brown. Guitarist Orrick
is the band’s primary lead vocalist, although Eric Uglum (mandolin/guitar)
and Dick Brown (banjo) also sing some leads. The three vocalists have Lost Highway is one of the few traveling professional bluegrass bands based in California. Hailing originally from Smithville, TN., Ken Orrick was raised on bluegrass music. His smooth approach to singing was inspired by Carter and Ralph Stanley, Larry Sparks, Lester Flatt and Melvin Goins. Eric Uglum has played with Weary Hearts and Copperline, and he plays an important role in this band as mandolinist, lead guitarist and tenor singer. He sings lead on “No Mother or Dad” and “Don’t Step Over an Old Love.” Dick Brown has performed and recorded with Lynn Morris, Traditional Bluegrass and Pacific Crest. He is the featured lead vocalist on “Over the Hills to the Poorhouse.” Fiddler Paul Shelasky was inspired by Benny Martin and Scotty Stoneman. He has recorded on over twenty-five albums and has played and toured with the Good Ol' Persons, Frank Wakefield, Tony Rice and David Grisman. Marshall Andrews has played traditional music for all of his life, and he has performed twice at IBMA showcases with Copperline (in 1997) and Lost Highway (in 1998). Lost Highway’s “bluegrass the way you like it” is a very warm, comfortable,
appealing album. These purveyors of the tradition know that there are many
favorites in the bluegrass canon. Regrettably, they didn’t chose a couple
more up-tempo ensemble workouts that really burn some barns along the
highway. What this quintet does give us, however, is a relaxed set of choice
material, accomplished singing, and proficient picking in their
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