CD Reviews

Another Singer of collected songs is Massachusetts resident Debra Cowan, whose Dad's Dinner Pail features Americanized versions of British ballads ("Bold Richard", "Cruel Brother") and regional originals such as the delightfully sentimental title track, all gathered in New England from the 1930s onward by folklorist Helen Hartness Flanders. Cowan is a clear-voiced traditional singer who presents these old songs with affection and feeling. She's accompanied in the straightforward, complementary arrangements by guitarist/producer Michael DeLalla and guests, including John Roberts on harmonies.
- Tom Nelligan, Dirty Linen

Every time I start to fret about the future of traditional music, along comes Debra Cowan with a new CD. The beauty of Cowan's performance is that she's true to the tradition, while making the songs accessible and interesting to the contemporary ear. She leaves behind the affectation and concentrates on the effect. Not to mention Cowan possesses a lovely voice and here Michael Delalla's intricate and dexterous guitar playing allows Cowan to concentrate on singing. Other musicians, including superb bass player Ralph Gordon, occasionally accompany them. This is not just another assortment of traditional songs. This album contains 11 of the hundreds of songs collected over 30 years by Helen Hartness Flanders who was determined to preserve the traditional music of New England, often variants of Scots/English songs. Not only did Cowan and DeLalla read Flanders' notes and articles, but also listened to some of the original recordings collected by Flanders. This is about as close as a contemporary artist can come to the true oral tradition. The result is a delightful variety of music from "Bold Richard" to "Walloping Window Blind". She sings two outstanding a capella duets with John Roberts, "Star in the East" and "Fearless In the Fire", a hymn by Charles Wesley. Cowan's interpretation of "Cruel Brother" with DeLalla on Baroque guitar and Joe DeZarn on fiddle and Gordon's bass is especially memorable. Her a capella version of "Burly Burly Banks of Barbree-O" also is outstanding. Cowan and DeLalla co-produced the CD and were thoughtful enough to include the lyrics and notes about the songs in the booklet. After hearing Dad's Dinner Pail I have no fear for the future of our tradition.
- Rich Warren, Sing Out!

New England folksinger Debra Cowan presents a lovely album of (mostly) Scottish-American traditional songs collected in New England in the 1930s by Helen Hartness Flanders. Mrs. Flanders, the wife of a U.S. Senator from Vermont, donated her recordings and other field collection materials to Middlebury College, although the tapes are now housed at the Library of Congress's American Folklife Center. It was there that Cowan spent many hours listening to them in 2002 and '03 in preparation for making this album.

Cowan has a perfect voice -- strong and unadorned -- for singing this kind of traditional material, and she and guitarist DeLalla have arranged the songs well. These 11 songs are presented with mostly just guitar accompaniment, or a capella, with occasional touches from fiddle, bass, cello, whistle, accordion or frame drum.

It starts off strongly with the English ballad "Bold Richard," with its infectious refrain of "With your rumbledum dumble dum doddikan day," and proceeds into the jaunty sea song "Walloping Window Blind" and the upbeat but cautionary tale "Young Charlotte" about a maiden who through pride in her wardrobe freezes to death on a sleigh ride to a winter ball. DeLalla plays a Baroque guitar that sounds something like a mandola on the Child Ballad "Cruel Brother," on which Cowan is also accompanied by a stately cello and fiddle. Cowan and John Roberts sing unaccompanied on the hymns "Star in the East" and "Fearless in the Fire" (the latter by Wesley), and Cowan sings alone on the children's game song "Burly Burly Banks of Barbry-O." An Americanized version of "The Poor Soldier," accompanied by whistle and guitar, has a very old feel to it. The American ballad "Schooner EA Horton" has Cowan double-tracking vocals on a couple of lines per verse, with some of DeLalla's best guitar work. "In the Town of Oxford" is another cautionary tale, the ballad of a young man who runs away and works for a lady in Holland who frames him for a crime when he spurns her love. The title track is a theater song from the 19th century; a chorus of heating and plumbing workers backs the singer on this charming waltz. At the conclusion, there's a 30-second clip of Jonathon Moses of Orford, New Hampsire, singing it for Mrs. Flanders.

Cowan provides thorough notes giving each song's provenance, often with a photo of the person who sang it in the Flanders collection. Although this CD is a valuable look at historic folk songs, it is by no means an academic exercise. The songs sparkle with life, just as they must have when people used to sing them regularly in their parlors.
- Gary Whitehouse, Green Man Review

The sound of Debra Cowan's clear, ringing voice begins this record, and it is that voice which carries through the next ten public-domain songs on Dad's Dinner Pail. Cowan's voice is proud and true, often backed by an acoustic guitar like a joyous elementary school music teacher sitting out by her favorite lake with a good song book. No posturing, no theatrics - it sounds like Cowan and guitarist Michael De Lalla were merely playing these songs for the enjoyment of it, when someone happened to press the record button. Cowan's sound is old and untouched. She's like the aunt who lives way up in Vermont where her neighbors can't be seen from her front porch.

This record sounds as though it was recorded out in the woods, engineered by elves on an enchanted mixing board. No one's certain what secrets are held in the forests of Winchester, VA, but it's clear that these are not songs associated with screeching train brakes and beeping horns. Cowan's sound is older, more colonial. Many of the lilting melodies and instrumentation bely a profound Celtic influence, as on "The Poor Soldier." Dad's Dinner Pail isn't exactly a trip in a time capsule; it's like a pleasing dream about another world. Cowan is our happy-faced and perky guide throughout the eleven tracks. If you find yourself walking through the woods of Vermont some day and hear Cowan's clear melodies echoing off the trees and rocks, follow the sound, because even if you're still lost when you find her, at least you'll have some nice mood music.
- C.D. Di Guardia, Performer Magazine

Wow!!!!!

In the mail yesterday, I received my copy of Debra's new CD Dad's Dinner Pail on the Falling Mountain label. I have been anxiously waiting for this CD since Debra mentioned the project to me last year. It was worth the wait!!!!!!

The songs on this CD are from the Helen Hartness Flanders collection. If Debra is online, perhaps she will give us some details as to how the CD came to be. Briefly, the project was started when Helen Flander's grandaughter approached Debra about recording some of the songs. Debra spent a great deal of time studying, listening to the source recordings, and choosing the songs for this magnificent CD.

I am always enthralled when an artist breathes life into songs that illustrate how folk music is a living tradition. The settings that Debra has chosen honors the songs - simple settings that allow the beauty of the songs to shine through, which in turn honors the work that Helen Flanders put into her monumental collection.

In my estimation, Debra is the head of the class for American folk singers and a reminder of why folk music first captured my imagination. She is blessed with a beautiful voice and a deep appreciation for the tradition. Too often, folksingers repeat songs by rote, with Debra each song is a new story to be shared and experienced.

Debra has some fine help. Michael DeLalla's subtle guitar playing sets the pace for the CD and allows Debra to showcase the songs. Other guests include Tabby Finch who adds hammered dulcimer and accordion on two cuts. I particulary enjoyed hearing Debra sing two songs with John Roberts. Stirring!!!

I urge everyone to check out this CD.
- Ron Olesko, The Mudcat Cafe and Host of "Traditions", WFDU Teaneck NJ

Helen Hartness Flanders was one of the most important collectors of American Folk Song. She is important because she specialized in New England and over a 30 year period amassed an unmatched archive which Debra delved deep into to select the songs for this recording.

It is a fascinating sampling of folk songs current in an earlier time in an interesting part of the United States but the point is, it is a gorgeous recording. Debra is one of those lucky people who simply have a great voice, she knows how to use it and you can tell she always has what she is singing about firmly in mind. It's communication first and foremost at all times and it's about telling the story in a simple but moving, compelling memorable way, and she doesn't miss. Nor does the accompaniment by Falling Mountain Music labelmate Michael DeLalla do anything but augment and enhance. The selection of songs is wide ranging from decedents of English ballads, to truly American compositions and a song from the New York Irish-American stage. Let's just say that you won't get bored. Even if you know the song in question you certainly don't know this version. She duets with John Roberts on a pair of hymn tunes to great effect but I must warn you to be careful if you try singing along with "Star in The East (Brightest and Best)" because there's a twist in the tune you might not expect.

The notes are simple, informative, and straight forward. They include pictures of the singers who provided the songs in question to Flanders and I find this totally charming. With a voice and diction that are as clear as Debra's, you will wish to learn the songs. The version included here of "Bonnie Banks o' Fordie" alone would make you look like a genius at your local folk club. Assuming that you're the first one in your set to get this album and are a quick study.

In addition to getting this recording for your collection, I suggest you see Debra in person the next time she's in your part of the world and you'll see what I mean.
- Dave Palmater, Tykes' News

More than one spiritual speaker refers to health benefits gained from good deeds, both for the doer and the receiver. There's evidence now that even onlookers will experience a rise in serotonin. If so, celebrate being considerate of others with McKnight's lively "Good Things Matter", a highlight from his new release Beyond Borders. This feel-good song promotes the golden rule with positive energy and suggestions, while managing to avoid slipping into sappiness.

Many numbers address aging. "When the Maples Turn" foreshadows aging by watching his own grandmother who, as he puts it, "made the last century a better place." Though vocabulary used by the child upon the knee seems advanced, the essence of the mood is of believable warmth and love. "Million Miles Together" glances backward at youth and "Alchemy" celebrates the bonding of aging lovers, with harmony by Terri Allard.

"Poet's Great Romance" is a great, moving melody, very singable with a bouncing chorus as if riding along with the outlaw protagonist. There's a bluesy addition, "My Good Name" which takes responsibility for a misdeed. Other cuts show an obvious concern for land use and the average worker's struggle with economically hard times. These themes reach beyond McKnight's native Appalachia.

Beyond the thoughtful lyrics and very appealing melodies, there are huge bluegrass overtones. McKnight furnishes both lead and harmony vocals for the opener "How High the Mountain" during which his guitarwork, the mandolin of Danny Knicely, and fiddle by Alexander Mitchell seem to be vying for a "hottest licks award". The men are as impressively ostentatious later, on the traditional instrumental "June Apple". This is McKnight's fourth release in the past decade.
- Angela Page, Sing Out!

Andrew McKnight would make a terrible politician (as if that is some great sin!). He is immensely introspective (strike one), highly contemplative (strike two) and far too interested in maintaining his balance on the highwire of life (strike three).

But lucky for us, he makes an excellent musician, and his latest release offering close to 60 minutes of his artistry, demonstrates just that.

McKnight focuses on the pastoral, the temporal and the benevolent here, with an emphasis on attempting to do right and correcting the inevitable lapses brought forth by human frailty. This is primarily a folk and bluegrass amalgamation, sprinkled with touches of spoken word and even some gospel. Call this McKnight's very own 'pilgrim trying to progress,' his search for the proverbial shining light.

He opens with "How High the Mountain," a bluegrass, spiritual-inflected cut, reflecting on life's guiding stars that we typically myopically overlook. "Hard Times in the Heartland" depicts how community can disappear despite the best of efforts. "Beyond Borders" embraces change as a constant in life, with a needed focus on the journey.

A verse from "Wishing' provides a stellar example of what's in the entire release:

"...Gravity, it holds me down
keeps my orbit safe and low enough
to ease the blow when I hit the ground
while angels glance, and prophets laugh
at this flightless rustic poet stumbling blindly down the path..."

"Can't escape my footsteps, follow hot on my tail
I'm running to catch my breath, on this long and lonely trail
so many wounds to heal, old debts to repay
and broken pieces to lay to rest, but not much more to say..."

The eloquence of "The Poet's Great Romance" is backed by guitar, bass and percussion, but could easily stand alone as a poem. "Good Things Matter" contains a closing verse that is an anthem to live by.

An a cappella spiritual, "Rust on My Halo," asks why life hardens and inures us to the misery of others. "Flowers In My Yard" instructs to find the beauty surrounding us, even when we think it is absent.

Musing about family lineage in "When the Maples Turn," McKnight sings of his grandmother:

"...She's the queen of all the nurses, the patriot, the saint
lighting matches in dark places, bearing all without complaint
these are her chapters and her verses, from our history
the pages left to come, are mostly left to me..."

The rapturous "Alchemy" appropriately closes the release. A tribute to the forging of union, it utilizes beautiful metaphor.

We all need reminders, such as those McKnight presents here, to recognize and reject the superfluous and to realize that happiness and satisfaction are but a thought or action away. This particular delightful remembrance has the distinctive detail and added benefit of being set to music.
- Kevin McCarthy

Bluegrass harmonies, introspective lyrics, & astute observations characterize Andrew McKnight's fourth CD Beyond Borders. Overall this is a great CD with a number of standout tracks including the opener "How High The Mountain," the stripped-down "Wishing" (featuring McKnight's exotic cedar flute work as well as noted percussionist N. Scott Robinson), & the chain-gang style vocals of "Rust On My Halo." But this diverse record's true strength lies in AM's vocal work & lyrics, which are best represented in the simplest of settings, despite several competent ensemble performances. The best songs by far don't stray from AM's Appalachian, story-telling roots with narratives like "The Poet's Great Romance" & "Flowers In My Yard." He even manages to toss an old- fashioned bluegrass instrumental in with "June Apple," an old Appalachian fiddle tune. A cross between Glen Phillips (Toad the Wet Sprocket), Nickel Creek's Sean Watkins, and Ani Difranco this CD is for fans of intelligent & heartfelt songwriting. Though at times didactic this disc has a song for every acoustic music fan out there
- Sean Lewis, Minor 7th

Singer/songwriter Andrew McKnight conjures images and memories of simpler times in a simpler world with his traditional mountain folk. His poetic lyrics use natural elements - mountains, valleys, stones, birds, flowers, the ocean, and stars - to identify emotions, life, hard times, spirituality and growth. Appropriate to his songs, the Appalachian mountain native once worked as an environmental engineer before pursuing music, giving him the right education to sing songs rooted in the beauty and simple perfection of nature. McKnight's tenor voice is jovial and has a storytelling quality to it. Some of the album's highlights include the track "Beyond Borders," which reminds us we're not alone in this world and that it's more vast than we can see ("I hear sounds of tongues I do not know...I know I am not alone"). "Rust on My Halo" is a call-and-response tune reminiscent of a preacher and a choir in a Southern church. "Million Miles Together" is simply beautiful. On Beyond Borders, McKnight majestically creates contemporary folk tunes with an acoustic guitar (sometimes coupled with a mandolin, banjo, or fiddle) to tell his stories inspired by nature, biblical expressions and history.
- Kristie Singer, Singer and Musician

Beyond Borders is the fourth release from environmental activist Andrew McKnight. He has a very fine high tenor voice, and it is that, I suppose, that makes it tempting to think of this recording as primarily a country influenced one, as at first that is the sound one recognizes. There are many more influences at work here. Certainly many of the songs have that country sound, but then you get to the holler, "Rust on My Halo", the bluegrassy, "June Apple" and the tone poem, "Do You Hear Them." The songs cover a wide range. The first two tracks are the "quasi bluegrass" spiritual, "How High the Mountain" and "Beyond Borders," whose influences are acknowledged as a rhythm from East Africa, and a melody evoking the Middle East. "Wishing," "Atlantis," and "Do You Hear Them?" are testimony to Andrew's environmental interests. All in all, Beyond Borders is well worth a listen. Andrew McKnight has been a regular performer at festivals and other venues for many years, and this latest offering will not disappoint his fans. With a bit of luck, and if there's any justice, it should also win many new converts to the work of this very personable and talented singer songwriter.
- Alastair Brown, Green Man Review

Andrew McKnight will never be accused of being too hip for the coffeehouse. The singer-songwriter and guitarist writes earnest, well-crafted songs, possesses a tuneful tenor and keeps good company. His guests on Beyond Borders include keyboardist Jon Carroll and mandolinist Danny Knicely, who help enliven, color and ornament McKnight's eclectic repertoire, variously inspired by fiddle tunes ("June Apple"), gospel harmonies ("Rust on My Halo") and small-town travail ("Hard Times in the Heartland" and "Flowers in My Yard.").
- Mike Joyce