Album Notes

The Round Mountain Girls formed in the summer of 2005/2006 at the base of Round Mountain, Northern NSW, Australia. With nothing more than Global domination on their minds and an unhealthy interest in bluegrass, Irish, blues and rock music, they began to rearrange classic songs and traditional tunes, bending them tastefully out of shape using nothing more than traditional instuments, Thursday nights and a lust for life. Slowly however, the RMG sound began to develop and a flood of original material came along which perfectly complemented the old classics.
Their debut album entitled WHITE RUM (2008) has been described as “….grittily optimistic” and “simply daunting” (Deborah Minter, Capital News 2008) and is a snap shot of where the band is right now. Songs on White Rum tell modern stories using traditional instruments and showcase their songwriting talents and musicianship. They display an uncanny ability to grab a new audience by the scruff of the neck and shake them around until they beg for oxygen. Their appeal is universal. Whether 6 or 60, Country or Rock or Folk, they'll have a little bit for everyone.
Strap in and hold on tight- it's the Round Mountain Girls.

Rave Magazine Review - Brisbane, Australia
Aussie bluegrass-meisters Round Mountain Girls are a collective of 40-something blokes who love a drink and a good ol’ fiddle ‘n’ banjo hoe-down. Hailing from NSW’s north coast, the RMG distil the “aged and spirited” bluegrass formula on their debut CD White Rum. The band boasts three lead singers and storytellers in Brad Hails, Chris Eaton and Chris Brooker; their songs tell of drowned sorrows and hardships, growing up in the country and mysteries of old. The singers’ ragged harmonies, Eaton’s rolling banjo, Brooker’s chiming mandolin and Rabbit Robinson’s ‘lightning’ fiddle anchor RMG’s full-pelt bluegrass, occasionally providing lush Celtic tones. Brad Hails blows some earth-rattling didgeridoo and haunting tin whistle on WC Fever and Red Berries, giving the songs a distinct outback feel; the Zorba-tinged Greek Tragedy lopes and swirls and Drowsy Maggie is a terrific reworking of an old murder ballad. Eaton’s Why It Hurts, a gentle acoustic ballad dedicated to the former’s mother, concludes and steals the album – potent and bittersweet, just like white rum.

DENIS SEMCHENKO - Rave Magazine, Brisbane