Vintage Impressions Sweetly Modernized To Perfection & With No Frosting

Recently, I reviewed a few traditionally inspired albums that had music that was closer to the earth and to the roots of old-time music. With this new Nell Robinson and Jim Nunally Band album “Baby Lets Take the Long Way Home,” the songs leave that vintage impression but these musicians have significantly updated, with even more vitality, the classically inspired lifeblood of that venerable lively music– and in some cases, it’s all done live.

On the title track “Baby Lets Take the Long Way Home,” the duo sings their original composition with the striking style of the legendary Goose Creek Symphony with Charlie Gearheart. The vocal tradeoffs and their individual moments with a beautiful country-warm Pete Grant pedal steel lead guitar — all jells. Nell & Jim both have distinctive vocals that when together provides a clarity to their showcase.

(Left to Right in photo) Nell Robinson, Jim Nunally, Pete Grant, Jon Arkin and Jim Kerwin.

When Nell sings on “I Hear a Southwind,” she reminds me of the remarkable duo Golden-Carrillo (Frank Carrillo & Annie Golden) especially similar to their track “A Fire in Newtown,” (“…. you can’t bury your sins in the ground…”). These two duos have tread the same roads – though Golden-Carrillo is more metropolitan in nature to Robinson and Nunally’s more country-inflected presentation.

Their more current results, however, are respectfully wonderful in their own special way. “Hillbilly Boy,” for instance, opens with energetic acoustic guitars by Jim, and a fiery Pete Grant pedal steel (The Grateful Dead, Guy Clark) and the pedal steel winds itself around the melody with style. In the background, if you listen, in place of a regular bass guitar, is that distinct bass fiddle of Jim Kerwin (David Grisman, Red Allen) the builds a quiet wall of sound behind the musical tapestry.

Nell returns to lead vocal chores on a more early 60’s flavored country tune with the Jim and Jesse McReynolds’ “Pardon Me.” One of only a few covers. As stated in their notes, it’s a little rhumba in a bluegrass territory but Nell nails the vocal with that sincere style of singing that was so rich and a little emotionally fragile on the likes of Robin Ward’s 1962 summer hit “Wonderful Summer.”

The instrumentation is consistently flawless and while it has reminders of being a melody that is somewhat retro – the performance only hints towards an old style because Jim and Nell have a bright, modernized arrangement here that is invigorating and it works. Great finale vocally by Nell. This one at first doesn’t immediately sound it – but it’s a smokin’ live performance.

Nell continues to sing lead with her own composition “I’m Brilliant,” and a banjo with deep bass fiddle take center stage at the intro. Then slowly, it builds and the pedal steel joins them and the momentum gains and develops convincingly. More country and commercial is Jim’s “Home’s Where I Long to Be,” performed by Jim with tasty Jon Arkin percussion. This one reminds me a little of the Ozark Mountain Daredevils, The Nitty Gritty Dirt Band, the Everly Brothers during their tenure with country-folk on their ’68 albums (“Lord of the Manor,” “Milk Train,” & “I Wonder if I Care as Much (1968)”), and yes, at times, Moby Grape – when they were recording songs closer in a more country tradition (“Truly Fine Citizen” LP – “Changes, Circles, Spinning,” & “Right Before My Eyes”). This is a very beautifully recorded track and the pedal steel is there but it’s not overbearing and whiney. It’s strong and it delivers the goods.

The bass fiddle opens and creates a moody, dark atmosphere for “Sophia.” Though it’s a little creepy with sound effects in a swamp, or just down by a dark creek. Nell unwinds her vocals ingeniously around these lyrics and it’s an entirely different take from standard country, bluegrass or folk music. The tale originates from a Swedish tale about how a grandmother teaches her lost granddaughter how to rescue herself from scary things. One of the best tracks in this twelve-track collection — a collection of music that’s sweet enough without any frosting. 

Another bid for a little commercial tune with a little more rock, Jim, and Nell sing together in a dynamic Richard & Mimi Farina or Richard & Linda Thompson tradition. “Shackled and Chained,” is one Jim’s crisp originals and this has dazzling work that features nice acoustics, thuddy percussion, generous pedal steel and all together they’re drenched in that old English-Irish melodic storytelling folk tale genre that even The Pogues could relate to.

The wheels on this truck come to a screeching halt and then veer into another direction as Nell begins “Complicated,” — a tune that is snatched from another era. This is played with a hat tip to the 50’s country and small claustrophobic nightclub atmosphere. The guitar is a little Hawaiian with its delicate notes, but Nell sings well in a jazzier inflected voice. The snare drum is lightly touched with brushes. I could even hear someone with a baritone like the late Jim Reeves or Patsy Cline sing this. This song is all atmosphere the way many of the older country singers used to experiment with.

The close out tune is a pensive, sensitive melody. “Mirror,” — which tells the tale of a daughter who leaves and the mother who hopes she will come back. It has reminiscing, regret, and an underlining stream of continued love. It can be refreshing or chilling, depending on how you interpret it. This is the most literate lyric on the collection and like Golden-Carrillo who’s “Fire in Newtown,” has one of the best lyrics I ever heard “Mirror,” is that kind of song as well. It makes listening to music a special experience and could very well make you come away with a good feeling, a sad feeling but nevertheless, with a feeling.

This track ends the 38-minute collection. I found it a set of songs with presence. Enjoyable from beginning to end and the nostalgia of it never interfered with the stability of the songs themselves. It isn’t that some of the songs sound old, it’s because the songs remind you of something in the past.

Some songs deserved a lyric book – so, next time try and include some lyrics. The writing is credible and not lame. As for the CD package, it’s a well-designed six panel fold out with information about how the songs originated. Full band details are enclosed as well. The album was produced in CA by Peter Berkow, Jim Nunally and Nell Robinson with special guests Mamuse who appeared on the track “Sophia.”

Website: https://www.nellandjim.com/

Facebook:  https://www.facebook.com/nellandjim/

Disclaimer: The opinions expressed in this review/commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as a reference and will be removed on request. YouTube images are standard YouTube license.

John Apice / No Depression / July 2017