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She Waits for Night
     

She Waits for Night

5.0 1
by Uncle Earl
 
There's no Uncle Earl in the band. And there's not even a man to speak of in this quintet. But no matter the off-center quality of their group name, the five ladies that comprise Uncle Earl are key players in the contemporary bluegrass-folk explosion of the past few years. She Waits for Night speaks with a musical maturity that displays the band's respect for

Overview

There's no Uncle Earl in the band. And there's not even a man to speak of in this quintet. But no matter the off-center quality of their group name, the five ladies that comprise Uncle Earl are key players in the contemporary bluegrass-folk explosion of the past few years. She Waits for Night speaks with a musical maturity that displays the band's respect for their rural influences yet also announces their ability to transform it all into something shiny and new. With their warming vocals and their use of fiddle, mandolin, banjo, acoustic bass, and guitar, Uncle Earl may look back to earlier folk traditions; but their heartfelt and often stomping presentation is thoroughly of the here-and-now. The enthusiasm and irresistible sense of fun that they bring to both time-honored tunes and idiomatic original material make it clear why they've been called the "Dallas Cowboy Cheerleaders of Old-Time Music."

Editorial Reviews

All Music Guide - Gregory McIntosh
On Uncle Earl's second outing, She Waits for Night, the only founding member of the group, K.C. Groves, sounds unlike the face of the project, but instead like a piece of a conglomerate where all members represent an equal value. It's a remarkably selfless move, considering Groves pieced together an entirely new band for the album, and a smart one that embellishes each member's gifts, raising the whole up to a level each musician likely wouldn't have so effortlessly reached on her own. The musicianship here is remarkable, but in a very unassuming and relaxed way that turns She Waits for Night into an ultimately more pleasant spin than the cutting contests that fill popular contemporary bluegrass and folk. Simply put: these women emerged on the scene to play songs, not to arpeggio their way into the limelight. That isn't to say the performances are underdeveloped, certainly Rayna Gellert's fiddle and Abby Washburn's banjo interplay on the opening cut, "Walking in My Sleep," attest to the top-notch instrumental skill of which the group is capable. Throughout, the quintet also showcase their vocal talent -- each member trades off lead vocal duties and the gentle, lifting harmony support -- while producer, Dirk Powell, had the presence of mind to let the natural resonance of Uncle Earl's instruments propel the album without compressing it into slick production. Powell's approach protects the integrity of Uncle Earl's old--timey folk sound, a virtue that seems to have become rare in contemporary acoustic music, and one that lets the band breathe through their pieces without stricture.

Product Details

Release Date:
07/19/2005
Label:
Rounder / Umgd
UPC:
0011661056527
catalogNumber:
610565
Rank:
74011

Tracks

Album Credits

Performance Credits

Uncle Earl   Primary Artist
Dan Rose   Bass
Christine Balfa   Triangle
Dirk Powell   Banjo,Accordion
K.C. Groves   Guitar,Mandolin,Vocals
Rayna Gellert   Fiddle,Guitar,Vocals,Vocal Harmony,Group Member
Kristin Andreassen   Guitar,Vocals,Vocal Harmony,Group Member
Abigail Washburn   Banjo,Vocals,Vocal Harmony,Group Member
Sharon Gilchrist   Mandolin,Vocals
Abby Washburn   Banjo,Vocals

Technical Credits

Dirk Powell   Producer,Liner Notes,Author,Audio Production
Scott Alarik   Author
K.C. Groves   Composer
Spencer Walts   Artwork
Rayna Gellert   Composer
Kristin Andreassen   Composer
Abigail Washburn   Composer

Customer Reviews

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She Waits for Night 5 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
Playing Time – 42:37 -- Mournfully sweet, infectiously spirited, and expressively conveyed are the best ways to describe the new old-time music offered by Uncle Earl. The four women not only reinvigorate old material, but they render it timeless. Besides finding material from obscure sources, they are able to also pen a few originals (Divine, Take These Chains, Pale Moon) whose juxtaposition in the set hardly delineates the old from the new. Perfectly attuned to the string band ways of yesteryear, Uncle Earl exhibits a collective vision for their old-time music. Band members Kristin Andreassen, Rayna Gellert, KC Groves, and Abigail Washburn each contribute to the lead and harmony vocals. These vocal talents provide many options to the band for song arrangement. Then, underlying their vocals, are exhilarating guitar, fiddle, mandolin and banjo. Each member has their role, and performs it masterfully. Interestingly, the four come from different states and diverse solo careers. Andreassen is a clogger and stepdancer with Maryland’s Footworks Percussive Dance Ensemble. Washburn sang with soul, gospel, and reggae bands. Gellert is an accomplished second-generation old-time fiddler. Groves is a compelling songsmith and singer. Guest artists include Dan Rose (bass), Dirk Powell (banjo and accordion on one track with each), and Christine Balfa (triangle one track). I understand that Uncle Earl has added Sharon Gilchrist (mandolin, bass, vocals) to their permanent lineup since recording “She Waits for Night.” While the band members hail from Colorado, North Carolina, Tennessee, New Mexico, and Washington, D.C., they all share a common desire to decorate and embellish the current old-time music mosaic. Beaming with life, this album has music that is both animated and radiant. There are uptempo fiddle bowing, reflective a capella gospel, instrumental string interplay, plaintive ballads, and even some feet clogging. Formed in 1999, Uncle Earl also puts on one entertaining live show. (Joe Ross)