High Windy Band

While many bands make a marked attempt to distinguish themselves as contemporary or traditional, High Windy possesses the ability to stand astride categorization. Blending elements of both styles, the band has put together an impressive debut album that deftly displays their influences.
For a debut album, "A Greater Storm" contains very strong original songwriting. Mandolin player Ty Gilpin contributes "Iron Horse," a song set in the early days of the railroad, while guitarist and vocalist Shane Lail brings three songs to the table. Contributing five songs to the disc is secondgeneration bluegrasser, Patrick McDougal, whose name may be familiar to many as a songwriter on albums by Alan Bibey, Lonesome River Band, and of the title track to the new Dan Tyminski album, "Wheels."


Song themes and styles range from the sentimental "Love Of A Lifetime" and "The Richest Man To God," to love lost in "The County Fool" and "The Good Ole Days." Showing some Celtic roots, "Dance Around The Daises" (with a clawhammer banjo intro played by fiddler Tim Gardner) sounds like an old tune from the lush rolling hills of Ireland, though it is written by McDougal. The band does cover more traditional ground with their take on "Blackjack Davey" leaning heavily toward the Country Gentleman arrangement.
Often in a group of such strong songwriters, you might think there would be a weakness amongst them, whether it be vocals or musicianship. Not here. On all of the songs mentioned above, the vocals and harmonies that support them are tight, as McDougal and Lail take turns on lead. As for musicianship, "Big Scioto" and "StatenIsle Joe (Medley)" prove that this talented group has the chops, too.


When the storm blows over, this is one band that will be left standing. (Mountain Home Music Co., P.O. Box 829, Arden, NC 28704, www.crossroadsmusic.com.)CEB
- Bluegrass Unlimited

Maverick readers who are habitually driven to feast on new bluegrass releases will know that there are no guarantees when buying CDs that feature freshly-penned compositions, even when the band involved is in the premier league. The problem is that, although many of them are Grade A players, darned few can turn out a really top notch song. They try and try and mostly fail. So, invariably you come to expect that many of the new releases - particularly by the new kids on the block but often by the better-established performers - will satisfy on the quality of playing alone, especially if good covers and trusty old nuggets are missing from the selection. How refreshing then, to find a new band that kicks up a storm and makes a big impression, with song-writing talent a plenty as well as inventive arrangements and subtle studio production touches.

There’s been a buzz in the air about High Windy in and around the more enlightened corners of Asheville in western North Carolina for a while. It’s an over-crowded scene where there must be more bluegrass bands per square mile than anywhere else on this planet, and as a result, local radio stations such as the well-respected WNCW are inundated on a weekly basis with producers and presenters bombarded with ‘high hopes’ product. Programmers are keen to give a platform to the best new talent to emerge, but, spoiled for choice, only the most interesting or inventive make it on to the playlists. As if to prove that their sifting procedures work, A GREATER STORM made it straight on to the station’s benchmark Going Across The Mountain show with host Dennis Jones telling listeners High Windy had provided “a look to the future of bluegrass music” with the release of the album. And, he’s spot on.

This isn’t just another bluegrass album nor simply another bluegrass band; this is a very bright and enlightened approach to the genre, and an album that will easily stand on its own with or without the support of the diehards. It deserves a much wider audience and should appeal to anyone who enjoys great rootsy Americana. There are all kinds of very enjoyable elements to this gutsy twelve-track package. When they are smooth as silk, it’s the Dillards-like song-writing style and sound that gives the material a special sheen. When they let rip and the brakes are off, the resultant hoolie is as unbridled as The New Ballard’s Branch Bogtrotters when the moonshine’s on free flow. Lead vocalist and guitarist Shane Lail has an appealing salt ‘n’ peppery Kenny Rogers quality and was responsible for two of the album’s stunners – Love Of A Lifetime and Coming Home - both sounding as if he might have once been an understudy of Nova Scotian top dog J.P.Cormer. With five of the compositions to his credit, banjo man Patrick McDougal has also taken full advantage of the opportunity to shine, his Dance Around The Daisies in particular, sounding as if it might be a real old gem that was maybe learned from one of the Appalachian masters. Another of the great strengths here, however is the band’s willingness to cast off many of the usual stereotypical bluegrass trappings and enjoy a dip into more folky traditions. Their version of Black Jack Davey, recorded by everyone from Dylan and Steeleye Span to The White Stripes, is as solidly presented as it has ever been, and fiddler Tim Gardner has risen to the challenge of dusting down the old-time instrumental cracker, Big Scioto - and putting together another terrific trad medley that marries Cotton-Eyed Joe and Staten Island. Not to be outdone, mandolin player Ty Gilpin makes his mark with Iron Horse, as good a railroad tale as any. And, while bassist Mark Davis is as rock steady as the granite of Grandfather Mountain, special guests including dobro maestro Rob Ickes and Ricky Skaggs’ picker Cody Kilby add occasional flourishes which never overpower or threaten the over-all integrity. LT
- Maverick Magazine