Common Strings "The Rain Comes Down," 2008; Chris Stuart & Backcountry "Crooked Man," 2008 Two groups, both with an eye on tradition and good chops, take different approaches to bluegrass. Both offer originals that sound traditional: stories, gospel, tearjerkers, murder, and somebody leaving somebody. Both accomplish their mission. The best introduction to Common Strings is the title track, "The Rain Came Down." You'll be struck by Vanessa Nichols' lullaby smooth vocals. But to learn what this fiddle-less outfit is about, listen to the solo section. Notice the way the harmonizing guitar joins the mandolin in a brief, spirited duet. Then the guitar takes over. That's one fine handoff. These bandmates listen to each other. The standout soloist is Blake McDaniel on dobro, but all the chores are shared nicely. Though Common Strings keeps its vision firmly focused on its roots, the last track's title ("Picket Fences-First Movement"), extended jamming, and "Sweet Home Alabama" reminiscent vocal section hint of uncommon things to come. Backcountry roams more widely around the genre. The Chris Stuart penned title track-the metaphoric tale of a crooked man and his crooked fiddle-does a fine job of introducing the band: crackerjack songwriting, close harmony, tight work powered by fiddle and banjo, and Eric Uglum's melodic, imaginative flatpicking on the six string. Another standout is the anti-war "The Streets of Charlottetown." It's an original; I checked it twice. And you won't often hear such pretty pennywhistle on a bluegrass record. I'm also partial to Stuart's funny, raucous country song "I Remember Memphis," but I don't remember why. (Listen and you'll understand.) "These Tears" is another country-tinged standout. "Lantern Bay" (by banjo picker Janet Beazley) swings greatly for a ghostly murder ballad. "Ofer and Yesbuddy" is a folky weeper. Wandering through Backcountry territory means covering a lot of ground. It's rewarding exercise indeed. © David Kleiner

Rupert Wates "Dear Life," 2008 Rupert Waits depicts today's world in torrents of bleak images: "deserts ripped of life... poisoned air;" "the sinking raft, the wreckage of a faulty craft;" "we live in shit and flies and mud." But this dear life can be sweet, so Wates softens his apocalyptic vision with some uplifting musical choices. Throughout, there's the transcendent fretless bass of Michael Manring. Grant Dermody's chugging harp heightens the bluesy "Dear God." Stacey Lorin's lovely harmony brings hope we can believe in when she joins in on the closing lines of "I Dream" ("I dream of another voice that sings with mine and tells me I don't dream alone"). Nice touch. Wates makes interesting musical choices throughout. He gives "The Sound of Applause" -- an honest look at his motivation for seeking adulation -- a bossa nova flavor (ala Janis Ian's "Seventeen") with a Joni Mitchell guitar sound. "Now I'm Here" poses its existential dilemma backed by "Blackbird"-like picking. Wates goes all folkie on the closer, "You'll See Me Again." Recorded live, the CD truly presents its performances warts and all. If this world is going to hell in a handbasket, "Dear Life" makes a tuneful soundtrack for the descent. © David Kleiner