CD Review: The Woodshedders “O Dig”

by--David Burke, R2 Rock N' Reel Magazine

“Washington outfit The Woodshedders shook up the roots scene in 2009 with their debut, Catch That Yardbird, an exuberant mess of country, rhythm & blues, bluegrass, gypsy jazz and indie. O Dig is more of the same – something that will no doubt satisfy existing devotees and should convert a few more.
The songs are mostly made from traditional templates, though ‘Chicken to Change’, which merges roots with rap, may upset the purists. ‘Badger Blood’ is strictly old-timey, ‘Narwhal’ sizzling hot jazz and ‘Swallow Wings’ balladry at its beguiling best, pitching together the guest vocals of Aimee Curl and Morgan Morrison.
Its all about the playing, though. These guys are good, know they’re good, and take the kind of chances that will leave your flabber well and truly gasted when you’re not throwing down dance shapes like a backwoods preacher who’s got the Holy Spirit.”

CD Review: The Woodshedders “O Dig”

by--Dessie Fisher, Drive 105 FM, Northern Ireland

The Woodshedders O Dig: "What a triumph this album is. From the great cover and CD packaging, to the wonderful fun that this band brings to acoustic music. The album feels 'live' and that's the way good acoustic music should feel...should make you want to see the band in a live setting, and this certainly does that! It's a great album with plenty of great tunes. I size up a good album by the number of different plays I get on my show "For Folks Sake" and I'll be playing all these tunes at one time or another. A real surprise package!"

CD Review: The Woodshedders “O Dig”

by--Backroads UK

For over a decade now The Woodshedders have plied their trade in the southern Appalachians, offering a new take on American country, old-time and gypsy jazz. O Dig sees them enlist the assistance of a number of contributors from their region, and together they serve up a potent mix of authentic sounds and backwoods lyricism.

That’s clear on the opener, “Badger Blood”, a kind of Steve Earle crossed with Del McCoury number with a fluid fiddle line. The pace is subsequently maintained with “Narwhal”, a campfire-style instrumental par excellence; it features astonishingly fast picking throughout and is gloriously atmospheric.

“Slipping Through” is somewhere between a country two-step and a reggae groove. Despite this bizarre marriage of musical stylings it works extremely well. The album’s standout track, however, has to be “Virginia’s Fair Daughters”, a wonderful, narrative waltz that would be equally at home on an early John Prine record.

Dylan aficionados might, on first listen, take umbrage at “Sand Grain”. It begins life in the unmistakeable groove of the troubadour’s Highway 61-era line-up and, it soon becomes apparent, is virtually a note-for-note lift of “Tombstone Blues”. However, it’s good-natured stuff and even name-checks the great man as it unfolds. Replete with machine-gun vocal delivery and excellent, instrumental turns, it is perhaps the most light-hearted song on offer. Mention should also be made of “Chicken to Change” – a bluegrass hip-hop number. Despite the clear oxymoron and notions that such a musical approach would surely end in disaster, the track itself defies expectations and is wholly engaging.

Throughout proceedings The Woodshedders wear their influences and the pride they clearly have of their region on their sleeves. Performance-wise this is a great record. However, as with so many other backwoods bluegrass workouts, stellar musicianship is not enough to make it stand out from the crowd. Where this album truly shines is on the material that incorporates other musical styles and genres while somehow managing to remain beneath the bluegrass umbrella. It’s well worth a listen; where the roots are strong the fruit is sweet.

--Cate Mitchell

CD Review: The Woodshedders “O Dig”

by--Folk Radio UK

The Woodshedders latest release O Dig is a crazy gumbo of musical ingredients that they like to call Indie Roots Americana.

Whatever you call it, The Woodshedders are an unpredictable bunch, just when you think you’ve nailed their sound with their rootsy country opener Badger Blood your are bounced back through a fast paced gypsy jazz Narwhal before arriving at an accoustic reggae number: Slipping Through. They will blow away any pre-conceptions you may have after hearing the first track, you just can’t pin’em down!

In short, they are your perfect dream festival band who you don’t want to stop! Their ability to flip and twist from one genre to a fusion of others is both dizzying and elating. The band consists of Dwayne Brooke (lead singer, guitar), Ryan Mayo (upright bass, vocals), Jesse Shultzaberger (drums, chickenhouse) and Dave Van Deventer (fiddle, vocals). On O Dig they have also added numbers to the stage with a wealth of guest artists and musicians from Virginia.

The lyrics are sharp, witty and cleverly put together. Sand Grain is a hot favourite as it leaps into the shoes of Dylan’s Tombstone Blues along with a big chunk of Honky Tonk and Swing for good company.

This is one hell of an album and will pale many similar bands into insignificance in a fesltival line-up. The Woodshedders sophomore album O Dig is well up on our list of hot recommendations…a must!

CD Review: The Woodshedders “O Dig”

by--South Mountain Media

The Woodshedders latest release and second studio album “O Dig” presents a carousel of songs, moving from Americana to gypsy jazz, through island breezes and acoustic funk. Dwayne Brooke has written a bevy of fine songs for this album, and what it lacks in cohesion it more than makes up for with its lyrical and musical strength.

The album opener, “Badger Blood“, is pure bonfire anthem, with a chorus that makes you want to raise your mug  and sing along with the cast of characters, animals and food. The second track, “Narwhal”, presents a very different sound with high octane hot club jazz. Mandolin work by guest Danny Knicely compliments Van Deventer’s fiddle and Brooke’s guitar as they pack hundreds of notes in this two minute romp.

Jesse Schulzaberger’s drums set the mood for the island hopping “Slipping Through”, with more mandolin by Knicely and added  vocals by Aimee Curl. The percussion shines again during a break on the following track, the hot jazzed “Viper James“. Young talent from Gaven Largent‘s dobro highlights the road trip inspired “Four Winds” before we finally slow down for the old time themed waltz “Virginia’s Fair Daughters”.

“Sand Grain” may bespeak a small pebble, but this track is a real gem. It evokes the spirit of Bob Dylan’s “Tombstone Blues”, with Brooke’s lyrical imagery coming through strong and Van Deventer’s fiddle soaring above. Slowing down once more for the dreamy “Swallows Wings”, we are treated to the guest harmonies of Aimee Curl and Morgan Morrison of the Furnace Mountain Band, with the ‘Shedders playing impeccable backup and fills to highlight their guest singers.

Before you can be lulled into complacency, the album closer “Chicken to Change” practically demands that you get up and dance. Ryan Mayo’s bass paves the way for this acoustified funk tune containing a fantastic bass, fiddle & drum break that will leave you wanting to hear just what The Woodshedders could possibly bring out next.

No two songs are the same on “O Dig”, but that’s fine because each one stands well on its own. Compared to the more string-oriented sound of 2007′s “Catch That Yardbird”, “O Dig”  cranks up the rhythm, volume and energy featured in the “Yardbird” title track. My only small criticism of “O Dig” is that in an otherwise strong production of The Woodshedder’s talent, on a few tracks the volume level of Van Deventer’s superb fiddling is not quite as loud as I would like it to be. That aside, this is an exciting album of diverse, original, roots-influenced music. While the album as whole avoids easy classification, the hot club, country party sound of “O Dig” will find good rotation in many Americana music collections.

If the title of The Woodshedders’ new album “O Dig” is a command, I have no problem obeying. The album boasts a truly eclectic fusion of numerous styles and stories, and it’s full of surprises. The Woodshedders have got the dances covered with two-steps, waltzes, swing, and hip-hop. They’ve got plenty of songs about animals, such as badgers, chickens, crickets, birds foxes, and more chickens. Oh, and there’s quite a bit of social commentary, with references to Shakespeare, Bob Dylan, John Brown, Jimmy Carter, and Abe Lincoln. Then there’s the music itself, which encompasses a host of different styles such as blues, country, folk, and…rap? Indeed.

A moderate tempo two-step, “Badger Blood” is the opening track and features warm vocals — courtesy of guests Melissa Wright, Aimee Curl, and Morgan Morrison, in addition to Dwayne, Ryan, and Dave of The Woodshedders — and the dobro playing of Gaven Largent. Fiddle is also prominent on this tune, and Dave Van Deventer’s playing is full of double-stops. The second track, “Narwhal,” is a highlight on the album. The Woodshedders always seem to have one song that really knocks all the others out of the water so to speak, and this is it on “O Dig.” A Django Reinhardt and the Hot Club of France-inspired instrumental, the supreme abilities of Dave on fiddle and Dwayne on guitar are clearly evidenced as they play the dizzying melody. It’s a tightly wound, rapid-tempo tune, and every swift note is clear and full of passion. Playing that fast is impressive, period, but especially so when it’s done with such tremendous musicality. Next is “Slipping Through,” quite a change in pace. I didn’t know these guys and gals do reggae, but apparently they do now. A laid-back but steady beat by Jesse on drums grounds the song, played with a distinctly reggae rhythm. Guitar and upright bass also contribute to the groove of the song, which still retains swing and country roots. After that comes “Viper James,” another highlight on the album with Dwayne’s guitar virtuosity on full display. A rambunctious song about an outlaw, the narrative is something like a modern, grown-up, slightly altered version of the children’s classic “Little Rabbit Foo Foo.” Intrigued? You should be.

Gaven Largent plays on only two songs on the album, and “Four Winds” is the second. It’s a real hoedown of a song, and forget caffeine — if you need to get anything done just put “Four Winds” on. There are a few slower songs on “O Dig,” however, “Virginia’s Fair Daughters” being one. A sweet country waltz, it almost has an old hymn-like quality to it — especially towards the end when Dwayne sings with only scattered guitar chords as accompaniment before Morgan and Aimee join back in on vocal harmonies. The Woodshedders don’t stay solemn for long, though. Immediately following “Virginia’s Fair Daughters” is the rockabilly-tinged “Sand Grain,” full of politics among whimsical lyrics. After that comes “Swallow’s Wings,” and when I mentioned that The Woodshedders play slower songs on “O Dig” in addition to the lively ones, I meant they play two: ”Virginia’s Fine Daughters” is the first and “Swallow’s Wings” is the second. Morgan and Aimee sing lead on the latter, and their vocals are incredibly complimentary. Guitar keeps the rhythm along with the drums while fiddle decorates the music with trills here and there, but the two women’s vocals create most of the music in the song.

Last is “Chicken to Change,” and if you were wondering what song the band raps on, this is it. In addition to liking the song, I also admire the message. Dwayne recites how “we got a mountain to move, get your grain of sand.” There are also some lines about people wanting to buy the “latest, greatest, future piece of trash” and something about cucumbers in the hot sauce, but you’ll just have to listen to get the full gist of it yourself (listen or buy here). The album surprised me with its diversity, and while many of the songs require a deeper listen to get the full weight of the message, the reward is well worth the effort. I do think The Woodshedders left out one important thing, however: a warning label on the album stating “stimulant.”

"Old time music is genuine," sing The Woodshedders on the closing tune of the groups’ first major record release, Catch That Yardbird. That sentiment couldn’t be truer for this talented band of guys and gals; genuine and mighty fine, the hot-club/gypsy-jazz sound popularized by Django Reinhardt in the 1930s and '40s is alive and swell in their music.

All but one of the 11 tracks are original compositions and four of these are instrumentals, ranging from the waltzing "Valse a Vandalia" to the aptly titled "Ginseng Swing." The string-band elements of virtuosic guitars, fiddle and mandolin provide rich, acoustic foundation, while bass, drums and a homemade rhythmic contraption called the skiffle-trap set the shuffle into motion. Overlying most of the songs are keenly penned vocals sung by guitarist Dwayne Brook and harmonized by standout songbirds Amiee Curl and Morgan Morrison, who credit the American-born Boswell Sisters as strong influences. "Watermaid" weaves a moody allure, while the title track proves a raucous barnyard romp that chronicles the rags-to-riches tale of two friends, Chicken and Vine, and unfolds with utter hilarity like a synthesis of Tom & Jerry and The Beverly Hillbillies.

The fun is contagious in the music of The Woodshedders. Catch That Yardbird is both a reverent tribute to bygone greats of radio’s Golden Age and a refreshing resurrection, drawing new inspiration from those classic styles that never really go out of style.

“Catch That Yardbird” is the title of The Woodshedders’ CD. Who exactly are The Woodshedders? Well, they are a bunch of  troublemaking musicians (Dwayne Brooke, David Vandeventer, Stuart Orser, Ryan Mayo, Jesse Schultzaberger, Aimee Curl, and Morgan Morrison) based out of West Virginia who formed a real sweet old time/hot club/jazz/swing band. Dwayne Brooke wrote and composed all of the songs on ”Catch That Yardbird” except for two: ”That’s Old Time”, written by Dwayne and fellow bandmates Aimee Curl and Morgan Morrison, and ”Vodka Before Breakfast,” a traditional song which was arranged by The Woodshedders.

“Catch That Yardbird” opens with a sunny little song called The Bird Song. The guitar work, as played by Stuart Orser and Dwayne Brooke, is fantastic. The Bird Song is the perfect tune to open the CD with. Very danceable. I tried to write as I listened to it, but I kept getting distracted by The Woodshedders’ rockin’ playing and found myself dancing around the room instead. Valse a Vandalia is a short little instrumental that’s awesomeness is condensed into it’s length of 3:09. Oh how love that song… It gives me chills. There’s something undeniably sexy about Valse a Vandalia… Whether it be the gypsy guitar, the soaring fiddle, or something else altogether I don’t know. Whatever it is, it’s simply captivating. “Catch That Yardbird” is now one of my favorite CD’s amongst a collection of hundreds (and every single CD in the aforementioned collection is great, so that’s saying something about The Woodshedders). Not to sound arrogant or anything, but I like to think I have impeccable taste in music. I  know not everyone would agree of course… For example, anyone who likes Miley Cyrus or the Jonas Brothers would be astounded and insulted that I do not share their opinion of good music (I therefore rest my case). But I got ahead of myself! I’m already gushing about The Woodshedders’ CD being my new favorite, and I haven’t even finished writing about more than two songs! So on to the third, Train to Charleston. Another great dance number. Of course, “Catch That Yardbird” is full of them, so no surprise there… The Woodshedders play music inspired by a time when people could actually dance to the music they listened to. (I’m sorry, but the club dancing of nowadays does not qualify as dancing, okay?) Anyhow, there’s also some real nice mandolin picking on Train To Charleston, courtesy of guest musician Chance McCoy (also a guest on the CD is Stephanie Thompson on backup bebops). Next up is C Bop, an instrumental which is perfectly complex, yet simple. Then comes the title track, Catch That Yardbird. The lyrics are so funny! They basically tell the tale of a honeybee who is poor. She’s friends with a chicken and a vine, and one day a bird in the sky drops a bag with a lot of money in it. The honeybee, chicken, and vine are excited, but the chicken – who hadn’t eaten all day -  swallows the purse, and runs down the street. The chorus is “Catch that yardbird!”, followed by some jazzy jumbles like some “bobba lou bobba lo” and “hooka pooka do doe” (or something like that….) Rhythm guitar holds a steady base, while lead guitar plays decorative improvisations. In the second verse, we learn that the honeybee caught up with the chicken, and the three characters move to Hollywood where they buy a henhouse made of gold, and have a barn full of shoes to boot (no pun intended, I swear). Oh yes, and they also have a gem for every finger and a diamond for every toe. The song ends with the chorus, and some more lickity splitting solos.

What song could The Woodshedders possibly follow Catch That Yardbird  with? Well, they chose one called The One, which is – at the risk of sounding redundant – the perfect one. It’s a little more relaxed, but has the same sweet rhythm guitar as all of their other songs. It also has a real nice bass solo one minute before the end. After that comes the shortest song on the album, the one minute and forty one seconds of a tune called Vodka Before Breakfast. With a name like that I wasn’t sure what to expect… Turns out it’s an instrumental that sounds like a Balkan folk dance.

For Granted is a slow two-step which I can totally see played at an old country  roadhouse bar (and I mean that as a compliment!) Listening to it makes me want to be dancing with John Travolta in “Urban Cowboy”… And the double stops on fiddle leave me breathless every time. After the peaceful For Granted, The Woodshedders pick things up once more with Ginseng Swing, a three minute instrumental full of hot licks and tremolos on guitar. After that comes the suave and urbane Watermaid. The music just oozes from the speakers, and I can see the song being used in a film noir… The slick, whispery end of Watermaid brings us to That’s Old Time, the last song on the album. Gotta love the lyrics: “…Every other cat that you meet on the street’s got a pick in hand and an old string band/now we don’t let no radios tell us how to sound, for old time music is the genuine/Cracked old fiddle squawking like a goose, kay bass thumping like a stomping moose/hobo camping out in the caboose/that’s old time, that’s old time…”

Couldn’t have said it better myself. Luckily I don’t have to, for I’ve got The Woodshedders. I drove myself insane trying to figure out which songs on their CD were my favorites (it was honestly stressing me out!), so I gave up and decided to accept the fact that, well, every song is pretty much my favorite.