ALBUM REVIEW: Robbie Fulks Goes on a Joyous ‘Bluegrass Vacation’
Jon Young
Posted On April 5, 2023
Robbie Fulks has covered a lot of ground since the mid-’90s, most of it qualifying as Americana. The singer-songwriter has released solo projects ranging from somber character studies (2016’s Grammy-nominated Upland Stories) to a rollicking celebration of overlooked country music ancestors (2001’s 13 Hillbilly Giants). He’s collaborated with members of The Mekons and with Linda Gail Lewis, sister of Jerry Lee Lewis. He’s recorded his version of Bob Dylan’s Street-Legal and a set of Michael Jackson songs.
Robbie Fulks (photo by Scott Simontacchi)
A modern-day Roger Miller, Fulks is uncommonly versatile, capable of thoughtful insights and silly jokes, all shaped by keen intelligence. Showcasing the breadth of his talents, the delightful Bluegrass Vacation marks a return to the music that first fired his imagination; in the liner notes, Fulks recalls being transformed by John Hartford and Doc and Merle Watson a half-century ago. Now, he’s offering his own take on this classic sound, complete with high lonesome vocal harmonies and peerless players in tow.
Fulks is a charming downhome vocalist with an unaffected twang, but he can ham it up when the occasion warrants — see the goofy “Let The Old Dog In.” Though a fine guitar and banjo picker in his own right, he gives plenty of space to such stellar contributors as Sam Bush (mandolin), Alison Brown (banjo), Sierra Hull (mandolin), and Jerry Douglas (dobro), among others, who show off in the most agreeable fashion. This is bluegrass, after all.
Bluegrass Vacation is a vibrant celebration. On the jaunty “Longhair Bluegrass,” Fulks recalls being swept away by a new wave of players in 1973, dazzled by the likes of Clarence White (“a name I adore”) and David Grisman, even as old-guard standard-bearers such as Ralph Stanley looked on “unamused.” When he adds, “Monroe is still the King / But now his church has a new wing / Where outcasts like me can feel at home,” his elation is palpable.
Fulks is such a natural wit it’s easy to be blindsided by his poignant songs. “Angels Carry Me” wistfully remembers bidding home goodbye and rejecting the old ways, concluding, “Only a fool thinks he can leave / Just by driving away.” While “Momma’s Eyes” initially seems just a tender ode, the revelation that dementia has consumed her adds a devastating edge. Fulks asks, “If there’s a God in heaven, does he pay us any mind?”, and no comforting answer arises.
“Old Time Music Is Here To Stay,” the concluding track, finds him all by his lonesome, gently plucking a banjo as he reaffirms his devotion to vintage sounds, confessing, “That electrified guitar I bought back in ’84 / Sits back in the closet these days.” Is Bluegrass Vacation a dalliance, or a true reinvention? Robbie Fulks is so good at whatever he tries that you don’t want him to stand still long. But he sounds so contented here that it’s hard to begrudge his happiness.
Robbie Fulks’ Bluegrass Vacation is out April 7 on Compass Records.
