Press Reviews Evie Ladin Band  [+ Show] Folkworks You don’t often hear words like “traditional,” and... You don’t often hear words like “traditional,” and “authentic” paired with “innovative” and “unique,” but Evie Ladin has brought them together brilliantly in the self-titled, debut album of the Evie Ladin Band, and the result is truly a high point in new old-time music. If you are not already familiar with Evie Ladin’s music, don’t let the term “debut” fool you.  While the four multi-instrumental band members – Ladin, Keith Terry, Dina Maccabee, and Erik Pearson – have been playing together for three years, they are all seasoned professionals. And the polyrhythmic sound of Ladin’s clawhammer banjo, her clogging, and her beautifully modulated voice, have infused five previous albums with The Stairwell Sisters, as well as the 2010 release of her highly acclaimed solo album, Float Downstream. But in the 13 new old-timey, Appalachian-flavored tracks of Evie Ladin Band, Ladin surpasses herself. What makes this album SO good? First there are the songs themselves: eight delicious, rootsy and rhythmic originals – six by Ladin, one by Maccabee, and an instrumental by Pearson; and 5 inspired covers (including songs from Lotus Dickey, Walter McNew, Carter Family, Ewan McColl, Dock Boggs, and John Ashby). Then there is Ladin’s voice, more fluid and versatile than ever, sailing effortlessly on and around beautiful melodies with a seemingly effortless combination of strength and sensitivity. When joined in harmony by the silvery vocals of Dina Maccabee, the result is pure honey. And then, there is the band itself, each member adding a wealth of talent to the mix: Dina Maccabee on violin and harmony vocals; Erik Pearson on guitar, banjo and harmony vocals; and last but far from least, Keith Terry on bass, cajon, pizza pan, metal toys, Engelhart Gankogui (a type of African bell), bass harmonica, body music (aka, body drumming) and harmony vocals. A renowned percussionist and rhythm dancer, Terry, in fact, provides one of the most defining elements of this album: an incredibly compelling and often complex rhythm. And for Ladin as well, who started her career as a percussive dancer and choreographer, the rhythm is intrinsic to the sound of Evie Ladin Band (which Ladin produced, and Terry co-produced with Ivan Rosenberg). Evie Ladin and Keith Terry (http://www.youtube.com/v/xJ9XElawteU) The importance of this unique and varied percussion is evident from the very first track, Got You On My Mind (by Lotus Dickey). This catchy tune opens with just Ladin’s voice, which within five words is joined by Terry’s rhythm on metal toys. Only after the first verse of just vocals and percussion does Ladin’s clawhammer banjo join in and augment the rhythm; it is followed, in turn, by harmony vocals, violin and guitar. Like an underground river that surfaces, vanishes, and then resurfaces again, the intricate metallic rhythm appears and disappears, reappearing to play behind the instrumental solos. The result is a simple, lovely melody that builds into something very diverse and exciting. This skillful building, layering, and counterpoint of voices and instruments is evident throughout the arrangements on this album. For example, in the second track, Come Down To The Door Of My Home, Ladin’s original composition achieves a richly textured sound, with her rhythmic, funky banjo beat answered by the fiddle, and her vocals swelling to 3-part harmony as the song progresses. At this point, I should probably point out that every song on this CD is a winner. But I do have my favorites, of course, and they are all originals by Ladin. She is, among her many talents, an excellent songwriter, and Track 3 makes that very clear. He’s Not Alone sounds like a classic to me. Sung and played like an old-fashioned country song, with a drag and a catch in the voice, a great slide guitar, and harmony in all the right places, it packs an old-fashioned, true-to-life, emotional punch. Dime Store Glasses is another “classic-in-the-making.” In the country tradition of writing upbeat songs about heartbreak, this song is energized by a wonderful, prominent bass and body music. And for something “entirely different,” there’s Ladin’s quirky novelty song, Coffeeshop, with its interesting rhythms, fun lyrics and contemporary theme. Finally, I would be remiss if I did not call out one more song on this album. It is the song made famous by Roberta Flack – The First Time, by Ewan McColl – now reborn and transformed by the Evie Ladin Band. Whether you have never heard the song, or you have it stored away among your long-time favorites, it will, pardon the pun, be like hearing it for the first time. Roberta Flack’s version was slow and sensual, tinged with melancholy. But not anymore! In Ladin’s wonderful rendition, you will hear – for the first time – the pure joy in this song. It is a celebration of love, a quickening of the senses, that is simply uplifting. I could go on and on about this gem of an album, but in the last analysis, you must hear Evie Ladin Band for yourself. It’s just that special. No Depression  [+ Show] Grant Alden She can write, and she can sing, and she pulls bac... She can write, and she can sing, and she pulls back from the saccharine brink with just enough wit - a sharp intelligence. San Francisco Chronicle  [+ Show] Andy Gilbert Whether she's belting out old-time tunes with the ... Whether she's belting out old-time tunes with the Stairwell Sisters, calling a square dance or executing syncopated dance moves with husband and rhythmic partner Keith Terry, Evie Ladin is a natural entertainer with a gift for infusing folk practices with contemporary verve. Sing Out!  [+ Show] Sing Out! EVIE LADIN, Float Downstream, (Evil Diane Music). ... EVIE LADIN, Float Downstream, (Evil Diane Music). Evie Ladin, banjo player for the Stairwell Sisters, steps out here with her first solo album, and it is sweet. “I Love My Honey,” one of several public domain selections, opens the set in sterling old timey fashion. Next “Romeo,” the first of 10 originals here, is more modern, a tale of star-crossed love wafting on John R. Burr’s organ. These two set up a dynamic balancing modern and ancient that’s the album’s hallmark. Solid song craft performed wonderfully end to end; with Mike Marshall co-producing and with Evie playing prominently, you’d expect that. Very strongly recommended. — MT Midwest Records  [+ Show] Midwest Records Whew, here’s a high point for contemporary folk/lo... Whew, here’s a high point for contemporary folk/lo-fi!  When you have Mike Marshall and Lloyd Maines both on your team, this has got to be something special.  As you listen to it, you’ll think of a dozen things this reminds you of but strangely, you won’t be able to put your finer on any of them.  A sure winner for contemporary folk fans that have an affection for old timey vibes, this is no throwback and this is no desecration.  It’s contemporary down home music at the top of it’s game.  There’s been a lot of entries in this genre lately, and many have had a lot on the ball, but this one simply hits it out of the park.  Well done. East Bay Express  [+ Show] East Bay Express With all the alt-country and folksy fusion bands t... With all the alt-country and folksy fusion bands that are around right now, it's interesting to hear a straight-up folk album for once. Evie Ladin plays folk in a way that's faithful to tradition — classic storytelling; crisp, clean banjo and folk guitar; and sweet vocals. If you like folk you'll love this, and if you're from the South it'll feel like taking a trip home. Old-Time Herald  [+ Show] Old-Time Herald Old-Time Herald June-July 2010 -Toni Williams ... Old-Time Herald June-July 2010 -Toni Williams Evie Ladin is likely best known as the energetic banjo player and flatfooter in the Stairwell Sisters, a California female old-time band.  In this newest project she flexes her songwriting muscles and stretches her banjo borders. This is not an old-time CD, but one that presents her more as a contemporary singer-songwriter with a folksy flair.  Her rich and smoky voice resembles Natalie Merchant’s, and her songs are as fetching as Nancy Griffith’s. (She composed all but one of the nontraditional songs.)  They’re songs of life and love and loss – some celebratory, some contemplative, and some plaintive.  They’re all catchy, with mature lyrics and skilled phrasing.  The production is top-notch, with an array of instruments – mandolin, Dobro, organ, drums, fiddle, even tuba on the Mardi Gras song – taking turns adding texture and seasoning with just the right restrained touch.  And the vocal harmonies, while used sparingly, are lovely and full. Evie plays clawhammer on most of the cuts.  On one or two the banjo seems almost superfluous, and oddly syncopated, but as a whole it’s surprisingly fitting and successful. There’s a mighty fine, get-down version of Doc Boggs’ bluesy “Mistreated Mama,” plus a few hoedown tunes that pick up the pace and add variety.  I think these traditional cuts attest to Evie’s roots and range, but some listeners may feel they give the album a non-cohesiveness or scattered sense.  Maybe the CD doesn’t know what it wants to be, but I know that I like and appreciate just about everything on it.  Recommended for fans of the Stairwell Sisters, those who like to see old-time musicians expand into other fields, and those who like female singer-songwriters with full accompaniment.