Lost In The Fog
The Devil's Thumb
© 2002 Lost In The Fog (678277036222)
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From Hank Williams to Cole Porter and Lucinda Williams, this Northwest band blends bluegrass, old country and modern folk into a fresh new sound, delivered with tight harmonies and inspired picking.
tracks
- 1 Ashes Of Love
- 2 Hey, Good Looking
- 3 The Devil's Thumb
- 4 Side Of The Road
- 5 I'm Gonna Sleep With One Eye Open
- 6 Pigs In The Road
- 7 There Ain't No Ash Will Burn
- 8 Robin In The Cottonwood
- 9 Don't Fence Me In
- 10 The Bird That I Held In My Hand
- 11 Born To Run
- 12 Where The Wild River Rolls
- 13 'Til I'm Too Old To Die Young
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Reviews:
Of The Devil's Thumb CD
"...an album that'll find its spot at the top of the heap. A definite pleasure, this one."
Victory Review
May 2002
"...one on my best picks of the year 2002. [I] really enjoy that recording...some great vocals and great picking."
Pete Goodall, DJ
KBCS Bluegrass Ramble
November 2002
Of the Band:
"...the type of band that'll linger in your mind long after their set."
Victory Review
May 2002
"...a regional Northwest band that is creating their own unique signature sound while demonstrating a healthy respect for the traditions of bluegrass music."
"The Northwest bluegrass community should take note of this fine versatile group from Seattle. Their resourceful approach to acoustic music incorporates
a broad variety of elements that should earn them a legion of fans who like an eclectic repertoire."
Bluegrass Now
November 2002
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Vesatile Seattle group has a resourceful, eclectic approach to music
author: Joe Ross, staff writer, Bluegrass NowTotal playing time - 38:16 -- I am always pleased to make the acquaintance with a regional northwest band that is creating their own unique signature sound while demonstrating a healthy respect for the traditions of bluegrass music. Such is the case with the eclectic Seattle-based quartet, Lost in the Fog, which draws from traditional bluegrass, blues, classic country, swing, and modern country material. I sometimes wonder if being on the West coast, rather far removed from the Appalachian heart of bluegrass, leads to more eclectic musical preferences. The opening cut of Johnnie and Jack's "Ashes of Love" is given an uptempo and hard-driving bluegrass treatment. Then, we're swinging along with the classic country Hank Williams hit, "Hey, Good Lookin'." Next we're treated to a self-penned newgrassy and melodic instrumental called "The Devil's Thumb," presumably named for the mountain of the same name in Alaska. Next up is Lucinda Williams' "Side of the Road," a beautiful folk ballad which expresses the desire to maintain one's identity and have a little space while in a relationship. Traditional bluegrass is up next with "I'm Gonna Sleep with One Eye Open." You get the idea! Lost in the Fog seems to have very diverse musical interests and are equally comfortable with Cole Porter's "Don't Fence Me In" or an old-timey flavored original instrumental , "Robin in the Cottonwood." That's exactly why I like this band. There's something for everyone here. My only suggestion would have been for them to add a guest fiddler on this debut album. Songs that are standouts are Jake Weber's beautiful and expressive renditions of the songs, "There Ain't No Ash Will Burn" (written by Alabama country songwriter Walt Aldridge) and "The Bird That I Held in My Hand" (by T-Bone Burnett). Lost in the Fog is Michael Moore (banjo, resonator guitar), Mark Snyder (bass), Jake Weber (guitar), and Jason Parker (mandolin). Michael Moore contributed three original instrumental numbers on this album. Jake Weber is originally from New Jersey, and her choice of material to sing indicate a background in folk, world, and alternative music. Jason Parker hails from Kentucky and lays down a steady mandolin chop and solid breaks and fills on this project. Mark Snyder's musical roots are in the Mississippi River town of Clinton, Iowa, and he shares the majority of lead vocalist duties with Jake Weber. On this album, Moore also does a commendable job as lead singer for "Don't Fence Me In." The northwest bluegrass community should take note of this fine versatile group from Seattle. I hope to see them playing a wider area and appearing live at more bluegrass festivals in the future. Their resourceful approach to acoustic music incorporates a broad variety of elements that should earn them a legion of fans who like an eclectic repertoire. (Joe Ross, staff writer, Bluegrass Now)