Olive or Twist
author: Marc Dralus
I can't claim to have an expansive knowledge of bluegrass music, but I know what I like and this is definitely it. As soon as the CD begins with the title track you know that you are in for a different kind of ride. There are more than a few standouts here including "You Finally Slipped My Mind", the old time sound of "Devil Chased Me Around the Stump", "Day of Pain", "Who Will Sing For Me" and the wonderful instrumental "Eighth of February". This band has got all the right stuff and they put it together in fine fashion. You can bet I'll be eagerly awaiting their next release!
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....and 1/2 .... Playful and artful interpretive twists
author: Joe Ross
Playing Time – 51:40 -- From Colorado, The Badly Bent plumb the divide between traditional expression and an affirmative progressive spirit. Since 1997, they’ve sharpened their incisive attack and cohesion of the unit that includes Pat Dressen (guitar), Mark Epstein (banjo), Robb Brophy (mandolin), Bill Adams (Dobro), and newest addition Jimmy Largent (bass). “Olive or Twist” is a welcome glimpse and documentation of their originality, creativity, and willingness to experiment. More than just your average run-of-the-mill pickers, the disc brightens the day with a glow radiating from their exuberant performance. Epstein and Dressen are genial and convey the band’s affable character. Brophy sings tenor on all songs but Dee Stone’s “Counting the Days.” The Badly Bent courageously tackles “Who Will Sing For Me,” and their rendition of “I Wonder Where You Are Tonight” loses some emotional attachment by being pushed a little too fast. Assisted by producer Sally Van Meter, “Olive or Twist” draws material from diverse sources. The band likes to grassify songs not typically heard as bluegrass. Besides drawing material from The Stanley Brothers and Johnny Bond, there are covers from Bob Dylan and Helena Springs, Roger Ferris, T. Michael Coleman and Louis Pyrtle, John Reischman, Larry McPeak, Carl Jackson and Marty Stuart.
There are also five originals. Written by Epstein, “Olive or Twist” is a good instrumental example of how the band refuses to be constrained by perceived boundaries of the genre. Without being gimmicky, their interpretive twists are playful and artful. The propulsive instrumentals keep the party going, and that is clearly where the band’s best weaponry is. With an understanding and appreciation for the complexity of bluegrass, they impart a good-time, infectious vibe that considerably elevates their entertainment quotient. Interestingly, fans of progressive bluegrass view The Badly Bent as ultra-traditional, and staunch traditionalists view them as a hippie jam band. The ensemble has come to appreciate their twofold identity, but is their individuality, versatility and chameleonic coloring making them hard to define? You bet! They’re bent but really not so badly. Certainly not warped or deformed, they’re just a little crooked perhaps. Does their approach make it tough to get in with the bluegrass establishment? I doubt it because their talents and musicianship speak for themselves. I sense that they find their biggest support with young people at Durango-area watering holes, fairs, and festivals. And as a result of their new-found and burgeoning regional popularity, I’m sure that they ain’t broke … they’re just Badly Bent. (Joe Ross, Roseburg, OR.)
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