Catch Tomorrow

Catch Tomorrow

by Dale Ann Bradley
     
 

From the earliest days of bluegrass music, the style has been largely defined by the sound of the male voice -- the high, keening tenor of Bill Monroe, the rougher and richer sound of Ralph Stanley, the silky crooning of Lester Flatt. But women have also been involved since those days (remember thatSee more details below

Overview

From the earliest days of bluegrass music, the style has been largely defined by the sound of the male voice -- the high, keening tenor of Bill Monroe, the rougher and richer sound of Ralph Stanley, the silky crooning of Lester Flatt. But women have also been involved since those days (remember that accordion player Monroe had in his band early on?) and in recent years they have begun coming to the forefront, putting a different spin on the celebrated "high lonesome" sound that has always typified the genre. No one has done more to bring that development about than Dale Ann Bradley, whose third album nicely encapsulates the blend of respectful traditionalism and forward-looking modernism that has made it possible for woman-led bands to make a place for themselves in the male-dominated world of bluegrass. If your preferences run to hard-edged traditional bluegrass, then she's got you covered: "Julia Belle" is a brilliant original composition written in a strictly traditional style, as is "Run Rufus Run," another Bradley composition that tells the true story of her cousin, a young and reluctant moonshine runner in the mountains of Kentucky. If you want something more unusual, then check out her high-speed bluegrass adaptation of the Memphis soul classic "I Can't Stand the Rain," or her more stately take on "Me and Bobby McGee." And if your tastes run to even more modern "newgrass" sounds, then you'll want to check out the lovely "Live Forever." The gospel material is a mixed bag on this album -- her version of the hymn "Pass Me Not" is soft and sweetly gorgeous, but her rendition of "Heaven's Mercy Railroad" doesn't have the oomph one might expect from a song that combines a gritty depiction of slavery with celestially aspirational gospel music. Overall, this is a brilliant third effort from one of modern bluegrass music's finest talents.

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Product Details

Release Date:
10/10/2006
Label:
Compass Records
UPC:
0766397444529
catalogNumber:
4445
Rank:
80874

Tracks

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Album Credits

Performance Credits

Dale Ann Bradley   Primary Artist,Guitar,Vocals,Vocal Harmony
Alison Brown   Banjo,Guitar,Rhythm Guitar
Larry Sparks   Guitar,Vocals
Jim Lauderdale   Vocal Harmony
Todd Phillips   Upright Bass
Stuart Duncan   Fiddle
Trevor Hutchinson   Double Bass
Tim O'Brien   Bouzouki,Vocal Harmony
Marty Raybon   Vocals
Vicki Simmons   Bass,Vocal Harmony
Jeff White   Guitar,Vocal Harmony
Andrea Zonn   Vocal Harmony
Garry West   Upright Bass
Kevin Crawford   Flute
Steve Gulley   Vocal Harmony
Sean Smyth   Fiddle
Scott Napier   Mandolin
Pete Kelly & His Big Seven   Banjo
Paul Meehan   Guitar
Jesse Brock   Mandolin
Andy Hall   Dobro

Technical Credits

Alison Brown   Producer
Alison Krauss   Author
Larry Sparks   Duet
Kris Kristofferson   Composer
Billy Joe Shaver   Composer
Dale Ann Bradley   Arranger,Composer,Liner Notes,Duet
Donald Bryant   Composer
Jerry Chesnut   Composer
Fred Foster   Composer
Randy LeRoy   Mastering
Bernard Miller   Composer
Ann Peebles   Composer
Marty Raybon   Duet
Vicki Simmons   Composer
Chris Stuart   Composer
Eddy Shaver   Composer
David A. Thompson   Composer
Traditional   Composer
Erick Jaskowiak   Engineer
Edith Drake   Composer

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