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The Brick Album

The Greencards

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Customer Reviews

Not quite a "Brick", but close

Don't get me wrong. I am and continue to be a big Greencards fan. I've purchased all their records, seen them live, and friended them on Facebook. I've been waiting anxiously for this new record for some time.

But now, I'm disappointed. To these ears, it's not up to the melodic beauty of their other records. Just listen to the first three songs off Fascination, and try to find three similar classics on this one. On this whole record, the only song I felt was memorable was Here Lies John. The instrumental before that, Adelaide, was brilliant and could easily receive them their third Grammy nomination. But the other songs seemed more like fragments of partially conceived ideas that never really gelled. You can really tell what you are missing when the hidden track, the last song on the record, plays "Bury Me Beneath The Willow". It's a traditional classic bluegrass song, covered by many artists. This is songwriting, and unfortunately they recorded it using a tricky mono technique to sound old fashioned, so it doesn't sound great on nice headphones.

The positives...the Greencards are brilliant musicians and arrangers, and that still holds true. The sound is impeccable as usual, and Carol's singing is still superb...although I missed hearing a Kym song.

So there you have it. I just don't see most of these songs getting as much response live in concert as their older material, and don't think these will stand the test of time.

Awesome

Waited a long time it seems for new music from the Greencards and they do not disappoint!. The song Tale of Kangario is a great track but I am not sure you can beat Carole's voice on Far from an Only Child and Naked on the River.

Genre-blending Austin-based acoustic string band

If you imagine an intersection where the traditions of country and bluegrass meet the inventions of newgrass and the changes that swept through British contemporary folk, you’ll have a sense of the music spun by the Greencards. Their songs feature the tight harmonies of country and bluegrass, the sophistication of jazz, and the pluck of folk. As on 2009’s Fascination, the band traverses numerous styles from song to song, but unlike the contrasting colors of their previous outing, here they explore varying shades of their progressive string-band sound. The opening “Make it Out West,” though sung about modern contemporary emigration to the coast, still manages to conjure pickaxes and transcontinental rails with its rhythm. Similar changes are also heard in the jig “Adelaide,” while the album’s second instrumental, “Tale of Kangario,” hints at South American styles.

Vocalist Carol Young moves fluidly from country to jazz to pop, occasionally transitioning within a single song. The bass and plucked mandolin of “Mrs. Madness” provides a ‘30s supper club setting for the verses, slides into contemporary harmonies on the chorus and adds modernly picked fills. The longing of “Faded” and harmony blend of “Naked on the River” lean more toward pop harmony groups like the Rescues than to traditional bluegrass or country, but the mandolin (courtesy of guest Sam Bush), fiddle (from recent addition Tyler Andal) and guitar (from the band’s other recent addition, Carl Miner) keep the song anchored to the group’s roots. Vince Gill adds a duet vocal on “Heart Fixer,” and several dozen fans star as financial supporters, with their names emblazoned on the covers.

You can imagine several of these songs turning up on an episode of Grey’s Anatomy or another lovingly curated television show’s soundtrack. The Greencards have combined their diverse musical interests in a showcase that highlights the ingredients without sounding forced. They sound modern, but still rooted, a group whose acoustic framework is still recognizable to bluegrass, country and string band fans, but one that could also appeal to contemporary pop listeners. [©2011 hyperbolium dot com]

Biography

Genre: Country

Years Active: '00s

Texas contemporary bluegrass trio the Greencards are aptly named. After coming to the realization that their English and Australian homelands were not so conducive to their uniquely American style of music, mandolin player Kim Warner, fiddler Eamon McLoughlin, and bass player Carol Young took their love of Ricky Skaggs and Bob Dylan, mixed it with a little Fairport Convention and David Bowie, and began hitting clubs in the Lone Star State. By 2004 they had earned themselves the Best New Band award...
Full Bio

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