... and 1/2 ... Thrilling ride that documents Emily's creative swagger, head, he
Playing Time – 60:37 -- Born, raised, and reared on traditional music in middle Tennessee, Emily Singleton is now building a reputation as an eclectic adventurist and innovator. Emily Singleton’s third album, “Spirit on the Prowl,” follows her successful 2003 Bell Buckle disc (“Life in the Moment”) that brought considerable attention to her genre-crossing approach that blends elements of bluegrass, Celtic, folk, blues and classical music. With a large body of original material, along with covers from Chris Kokesh, Gordon Lightfoot, A.P. Carter and traditional sources, “Spirit on the Prowl” is well-wrought and tastefully-rendered Americana. Elevating one’s personal repertoire above mediocre singer-songwriter fare is every Emily Singleton’s challenge. Folksingers could learn from her admirable efforts. Emily and the lean feminine harmonies (from her sister Teressa Parker, Jennifer Rinehart, Andrea Zonn, Becky Buller) are richly textured to be both earthy and somewhat ethereal. Although I wouldn’t have minded additional vocal harmonies on a few more pieces mid-set (e.g. Hobo Railway), two parts work for most. The fullest, most robust vocals are discovered early in the set (“Spirit on the Prowl,” “A Few Words,” “Shadow of a Mountain”) and then again to close the album with the blues-hued and spiritually-infused “Workin’ on a Building.” Adapted from a Gaelic song, “Rise Up My Love,” is full of melancholy, and Gordon Lightfoot’s “Song for a Winter’s Night” is hypnotic and impressionistic balladry at its best.
Following her own muse leads Singleton into some unpredictable territory with such offerings as a precociously soulful and bluesy reworking of the traditional “Ain’t Gonna Work Tomorrow.” Emily can be dreamy and moving with a song like “Sweet Becky at the Loom,” and she can also be surprisingly funky with an original “Hobo Railway,” about a ramblin’ man during the great depression. While their rocking groove of “Keep on the Sunny Side” is rhythmically propulsive, the wistful vocals rendered seem diminutive for the instrumentation. Emily doesn’t shy away from intricate arrangements and interesting dynamics. Standard bluegrass instruments are heard, courtesy of such fine musicians as her husband Dave Higgs, Chris Joslin, Becky Buller, Jim Hurst, Ross Sermons, Jon Martin, Ricky Rigney, John Doubler and others. Singleton’s music makes a large sonic leap from the bluegrass genre by copiously incorporating such instruments as viola, mandocello, accordion, pennywhistle, 12-string guitar, banjola, harmonica, concertina, octave mandolin, dulcimer, electric bass, and percussion. I’ll bet it was great fun for musicians like Buddy Greene, Jeff Taylor, Andrea Zonn, and Dann Sherrill to add their stamp to the mix. It’s a thrilling ride that documents her creative swagger, head, heart and soul. (Joe Ross, staff writer, Bluegrass Now)
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