Jed Marum and Lonestar Stout
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Jed Marum and Lonestar Stout


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""Miles From Home" by Jed Marum"

© 2007, Catherine L. Tully for Celtic MP3s Music Magazine
Reprinted by permission

Artist: Jed Marum
Album: Miles From Home
Year produced: 2005
Cat #: BRR051
Label: Boston Road Records

This is good Celtic folk music with real bluegrass styling. The best folk music tells stories, and this album is no exception. Marum's voice is just beautiful; the kind you can listen to for hours because it is so calm and easy. This CD is terrific, because it can suit you in more than one mood. If you are looking to think and reflect a bit, it works. On the other hand, if you just want to totally relax and be soothed, Marum has just the right sound for that as well. It is no wonder he has gained recognition and popularity on the festival and concert scene. He must be something to experience with a crowd of people gathered around, and I bet he sounds just as good in person.

There is a touch of Texas flavor here and there mixed in with the Celtic, making for an interesting mix. The music was very good, although it's funny, I had to go back and really listen to it. Marum's voice is the true instrument here, with the music as background. It isn't that the musicianship is not good, you just find yourself focusing on the sound of the lyrics.

This isn't complicated stuff, and that is no insult. The simplicity of the music is its magic, which weaves around you and casts a rather lovely spell. I don't want to say any more for fear of spoiling it. This is one CD you need to experience for yourself, because it really is that good. If you enjoy folk-styled music, this is at the top of its field.
- Celtic MP3s Music Magazine


Category: Music

The following text is reprinted by permission. It was published by SingOut! Magazine in their Spring 2007 issue.


Cross Over the River

Boston Road 062

Jed Marum is a Texas based songwriter who specializes In Celtic music with strong American traditional music influences. His real strength lies in historical storytelling and he takes events of the Civil War and tales of Irish-American combatants and sets them to newly penned tunes or well known folk melodies. The subtitle of Cross Over the River is A Confederate Collection and most of the selections have a decidedly Rebel point of view.

The CD opens with "Monaghan's Lament" a tale of an Irish born New Orleans resident named Colonel William Monaghan who fought with the 6th Louisiana. It tells the tale of the Battle of Sheperdstown in 1864. "John Brown's Dance" follows. Its lyrics are based on newspaper accounts and a letter from Stonewall Jackson to his wife. This tongue-in-cheek retelling of the hanging of the legendary abolitionist is set to the traditional tune "John Brown's March."

The title track finds Jed using Stonewall Jackson as his guide once more as he sets the final words of the great General to a simple, beautiful melody. Another fascinating selection is "Shenandoah." Jed has discovered some obscure lyrics to this traditional classic relating to both the Battle of Pea Ridge and life in the Indian Territories. It is aptly followed by "The Shenandoah's Run" written by Jed concerning the CSS Shenandoah and its sacking of Union merchant and whaling ships. As an interesting side bar, Jed explains in the notes that The Shenandoah had her voyage extended by a few months after the fall of the Confederacy. She raced to Liverpool to surrender to the British, hoping for more humane treatment rather suffer the hanging as pirates that certainly awaited them at the hands of the victorious Union forces.

Anyone who is interested in Civil War history or who simply enjoys great songs performed well will most certainly find plenty of each on Jed Marum's Cross Over the River.

– TD © SingOut!, Spring 2007 – Vol. 51 #1
- SingOut!


Jed Marum - FIGHTING TIGERS OF IRELAND (BRR042) Boston Road Records, released Feb 2004

Jed Marum has a confident knack of taking the history of Ireland and the United States of America, combining them with music and creating some mini epics. This CD, subtitled A U.S. Civil War Collection, does on a single CD a task similar to the great PBS television series on the war.

Many of the tracks are new compositions, but Marum also includes a few traditional songs that dovetail very neatly into the story.

The CD opens with the title track from Marum's pen. It is a live recording and is a fitting opener. Marum credits research by David Kincaid on the tracks "Boys of the Irish Brigade" and "Pat Murphy of Meagher's Brigade." The former is an excellent song from the tradition that uses imagery from ancient Troy. This is an indicator of the fact that classical texts were often used in the hedge schools of Ireland.

Although the CD is titled as Irish, our Scots cousins are included. This is especially well defined on an excellent new song, "Down Where the Green Grass Grows." It tells a tale of a young man -- one of so many -- as he writes to a sweetheart on the night before marching away to battle. It is sad to remember that over a century later there are still young and not so young men and women writing similar letters.

The feeling of euphoria that fills people at the start of wars is captured to great effect in "Sweet Ellen Joyce." Here an 18-year-old gives a sprightly song expecting it to be over soon. Fifty odd years later in 1914, young men would express similar thoughts: "It'll be over by Christmas." Sadly, it seldom is, and we seldom learn.

Jed Marum is obviously extremely well read on the period as his songs are usually based on memoirs or letters from the war. "Mama's Lily" is a case in point, based on a true story from William McCarter's tale, "My Life in the Irish Brigade." The lyrics and their vision of deaths of civilians or collateral damage cannot fail to move the listener.

He is brilliant in the way he finds the personal in the epic tale. "Prayer from Little Round Top" unites the Great Famine in Ireland and the U.S. Civil War to show how the natural disaster in Europe often provided fodder for the man-made disaster in America.

In 14 tracks, Jed Marum brings us back to a traumatic period in American history and relates it to the natives of a green island thousands of miles away. Listening to this album in 2004, you must think on the futility of fighting. It relates a vast period in history to the individual, just as the bullet relates to an individual, not a state.

© Nicky Rossiter, May 2004 – Ireland South East Radio, and Rambles Magazine
reprinted by permission

Nicky Rossiter writes on local history and general interest for numerous newspapers, magazines and journals in Ireland and is host of “Stories” on Ireland's South East Radio
- Rambles Magazine


Ceili Magazine May/June 2008 issue

© Valery Malin, 2008 for the Southwest Celtic Music Association

Reprinted by permission


Concert Review by Valery Malin

Jed Marum, his son Jaime Marum, Mason Brown and Michael William Harrison performing together would be a memorable occasion in any setting. Staging such a musical treat in an environment where the audience intently listens to and appreciates the music made the event even more enjoyable. I hope that our Celtic community continues to support venues such as The Open Door Coffeehouse in Arlington, where the focus is on quality acoustical entertainment, and proceeds are donated to local charities.

(Left to right are; Jaime Marum, Jed Marum, Mason Brown and Michael William Harrison)

Lonestar Stout is a concert series intertwining Celtic, Folk, Bluegrass and Appalachian music which is being presented throughout the U.S. by singer-songwriters Jed Marum and Mason Brown, and sponsored by the Southwest Celtic Music Association. Jed’s immeasurable musical talents and warm, engaging stage presence are well-known to local Celtic and roots music enthusiasts. Over the past ten years, Jed recorded eight CDs, and appeared at countless festivals and music venues across the U.S. His incredible, ear-grabbing blends of traditional Celtic, Americana and bluegrass tunes and arrangements have earned Jed a huge international fan base. His music plays regularly on Folk/Bluegrass and Celtic radio programs around the world.

On his MySpace bio at, Michigan-native Mason Brown writes that he has been playing music “since first he was breeched.” His early musical influences were his parents’ collection of 1960s folk-revival records, the Beatles, Rolling Stones and “lots of blues.” After years of extensive training in guitar, violin, piano and voice, Mason performed in garage bands and jazz ensembles, turning to folk music in 1989. Mason now resides in Weston, Missouri, and performs regularly at O'Malley's Pub. He is a member of the Kansas City- based Irish music band, "Kelly," and also plays Appalachian and old-time music with fiddler Doug Goodhart.

(Mason Brown at the Open Door Coffeehouse with Lonestar Stout)

Michael William Harrison is also a long-time local favorite. Michael is known for his laid-back style, beautiful voice, and talents on guitar and other traditional instruments such as the bodhran. His performances offer a wide array of Celtic and American folk songs, both traditional and modern. In 2002, Michael and Jed recorded a live CD of Into the West: Celts in Texas, a musical performance at the Pocket Sandwich Theater in Dallas. The show featured traditional and original songs about Irish and Scots immigrants to Texas and their influence on our state’s music and culture.

(Michael William Harrison with Lonestar Stout)

Many of the 25 songs that Lonestar Stout performed that evening had a distinct and thoroughly enjoyable Appalachian feel – such as Mason’s rendition of “Cumberland Gap”. Mason learned this song from his father, who was born in Eastern Tennessee.

The evening began with Jed singing the whimsical 19th Century Irish ballad, “The Garden Where the Praties Grow”, followed by Andy M. Stewart’s “Take Her in Your Arms”. During the first set, Michael sang lovely versions of Bill Staine’s “Roseville Fair”, the Judy Collins classic “Someday Soon” and played bodhran as Jed sang “The White Cockade”, a song composed by Jed that he translated from an Irish Jacobite poem written in Irish.

Several songs featured Mason’s viola da gamba, a cello-like instrument whose name means "leg-viol" in Italian because it is played while positioned between the legs. A popular instrument during the late Renaissance and Baroque periods, Mason played the viola da gamba on two Irish reels, “Litrium Reel” and “Within a Mile of Dublin”.

Other songs featuring Jed during the first set were “Desolation Island”, which he wrote after reading the Patrick O’Brian book of the same title, and “Back Home in Derry”, written by written by Bobby Sands, an Irish Republican prisoner in Northern Ireland who died on hunger strike against the British in 1981.

Jed also performed three of the many songs he has written about the American Civil War era: the bluesy “Shenandoah’s Run”, “One Bloody Friday” (one of four songs that Jed licensed for use in the film “Bloody Dawn” about the Lawrence Massacre), and his guaranteed crowd-pleaser “Fighting Tigers of Ireland”.

(Left to right; Mason Brown and Jed Marum at O’Malley’s Pun in Weston MO)

One the songs that touched me the most was Mason’s “Brownie’s Lament”, a loving, melodic portrait of his late great-uncle, whose nickname was “Brownie”. The tune and Mason’s straightforward delivery beautifully combine the cadence of a traditional Irish ballad with a poignant hint of country blues. The lyrics are sung from an aging Brownie’s perspective as he reflects upon a full spectrum of life’s unpredictable experiences – working on the railroad, fighting in World War II and losing his brother (Mason’s grandfather) to the War. He’d “had lots of women -- once had a wife” and admits to having been a “rounder” who “drank quite a lot”. Each verse of Brownie’s story/song ends with a simple yet powerful adage: “You know, that’s the road of life.”

Mason also performed two starkly lovely pieces in the ancient Scot-Irish mode: a pastoral love song “Westland Winds”, which he learned from Dick Gaughan, and “Say, Darling, Say”, a traditional Appalachian tune that Mason sung in a manner that clearly showed the connection between American “mountain” music and the ancient music of the Celts.

Michael performed spirited renditions of “Rare Old Mountain Dew” and “Come to the Bower”. He and Jed closed the show with the coupling of “Bard of Armagh” sung by Jed, and its American counterpart “Streets of Laredo” which Michael sang.

The artfully seamless blend of guitars, mandolin, banjo, bodhran, and Mason’s unique viola da gamba, plus the tremendous vocal talents of all the performers, made this an unforgettable evening of great music. It’s wonderful to have young, gifted performers such as Jaime Marum continuing the tradition. Jaime was superb on mandolin and back-up vocals.

For information about upcoming shows, visit Lonestar Stout’s MySpace page or the band’s Web site at

- Ceili Magazine


The following review was published by Pay The Reckoning, in July of 2003 and is reprinted here by permission.

(Boston Road Records BRR022)

Marum, a New Englander by birth, now living in Texas, combines his love of American and Irish folk traditions on an album of traditional material, self-compositions and contemporary songs by other artists. Produced by Paul Mills, renowned for his work with the legendary Stan Rogers, the tasteful arrangements are superbly captured on an album which is remarkable for its clarity of thought and execution.

Marum himself plays high-strung and 6-string guitars, harmonicas and, of course, provides the lead vocals. He is assisted by a talented crew, who share his views on understated, quality musicianship - Rick Fielding (guitar, mandolin, autoharp, backing vocals), Mick Lane (backing vocals), Brian McNeill (fiddle), Dennis Pendrith (string bass), Wendy Solomon (cello), Curly Boy Stubbs (resophonic guitars, mandolin) and Betty Blakley Waddoups (whistle, backing vocals).

Such is the consistency of this collection that it's no easy task to single out one or two tracks from the 15 on offer. However the listener will remark how well his own compositions such as 'Desolation Island', 'Banks Of The Mobile' and the eponymous 'Soul Of A Wanderer' complement classic and timeless pieces of Americana such as Bob Will's 'San Antonio Rose'.

Regular visitors to Pay The Reckoning will not be surprised to find that we homed in on the Irish material on the CD. Marum's version of 'Garden Where The Praties Grow' - which some might regard as a typically Victorian piece of sentimentality - rehabilitates the song. He got it from his father, who got it turn from his grandfather, Martin Little from Galway. The song has prospered from its journey over many miles and over many years!

We would also commend Marum's version of 'Drill, Ye Tarriers!'. One of the most sparse arrangements on the album - just Marum's guitar and vocals - this is also one of the album's most powerful cuts and goes to demonstrate why so many superb musicians welcomed the opportunity to work with the album's author. When a musician is this good, he attracts quality collaborators like a flame attracts moths!

However pride of place on the album is reserved for the closing track, 'Sarah's Mountain Time'. Using the tune 'Go Lassie Go', Marum's elegy to the deceased Sarah, '... my dear young friend Sarah ...', is a typically understated, honest and deeply affecting tribute.

If soulful, distinguished musicianship gets your vote, then get along to or

© Pay The Reckoning, July 2003
- Pay The Reckoning

"Cross Over the River - CD REVIEW"

Review of Jed Marum’s CROSS OVER THE RIVER

In Aug issue of Confederate Veteran, a review was printed of Jed Marum's Cross Over the River CD, written by author/historian Rickey E Pittman.

The magazine that has a circulation of 30,000 or so and very popular among the reeanactor and historical communities.The following is reprinted by permission of the author:

Cross Over the River
In January of 2000, Jed Marum began his year by leaving a lucrative career so he could devote himself to his music. His first year as a fulltime musician earned exactly one tenth of what he had earned the year before. To his credit, he hasn't looked back, and has built a solid career and reputation as one of America's premier Celtic musicians and is often a headliner at festivals. His schedule is a busy one—with over 150 shows a year—and the number of shows seems to be steadily growing.
In addition to his intense love for and commitment to Celtic music, Marum has another passion—The Civil War. In our interview, I asked Marum how his interest in the War Between the States began. He said, "Once, I was being interviewed by Sunny Meriwether and she introduced me to her audience as an Irish singer who specializes in writing Civil War songs. I started to object saying that the Civil War was just a passing interest, when I realized that it had been passing for 10 years! That's when I realized I really wasn't just dabbling at the Civil War stuff, anymore. It had moved to a higher level."
The fruit of Marum's passion for this period of American history is his newest CD, Cross Over the River, a twelve-song collection of Irish and Confederate songs released August 4 of this year. This CD presents some of Marum's finest guitar picking and original lyrics. His songs have a depth of historical detail and emotion that lovers of Confederate music will love.
I believe Jed Marum is on his way to becoming our foremost Confederate balladeer. There's something in this CD that stirs the spirit, and just as I was about to suggest the collection would be great music for movies of this period, I found out that Marum has agreed to license two new songs to Lone Chimney Productions for use in their upcoming film, Bloody Dawn. The film is being made for the PBS and History Channel markets and is planned for a 2006 release. The movie focuses on the border wars between Kansas and Missouri surrounding the days of the US Civil War.
The music is acoustic, with Marum on guitar, banjo, and banjola. Musicians performing with him are Jaime Marum on mandolin, Kathleen Jackson on upright bass, Mimi Rogers on fiddle and Ken Fleming on button accordion. Travis Ener and Kathleen Jackson are also featured in background vocals.
The collection's songs are rich lyrically and musically, and several especially deserve comment. "Monaghan's Lament," is a song of an Irish born New Orleans resident, Col. William Monaghan of the 6th Louisiana. The song expresses a soldier's emotions as he regards a fallen admired leader of one of the South's most famous fighting units, "The Fighting Tigers." "One Bloody Friday" is a haunting song, so effectively constructed that it makes the listener feel as if he were riding with Quantrell. "Cross Over the River," is based on the last words of Stonewall Jackson. With this song, Marum takes us into the soul of a dying hero of the South. In other songs, Marum takes traditional melodies and masterfully creates moving interpretations. For example, I believe Marum's rendition of the well-known "Shenandoah" to be unique and the best version I've heard. "Stonewall of the West" is a wonderful tribute to Patrick Cleburne.
I predict this CD will have strong appeal with Civil War aficionados, reenactors, performers, and anyone who loves good ballads. Just reading the CD's insert and the background of the songs is an education and it reveals the extent of Marum's research. Cross Over the River has a large targeted audience and has all the potential for becoming a cult classic. For the musician, Marum has also generously published a songbook containing lyrics and chords for both Cross Over the River and his earlier Civil War CD, Fighting Tigers of Ireland.
Cross Over the River is a collection of original and period music with lyrics that capture the heart of the many Irish and Scots who fought for the South. The CD is a reminder that there are many stories buried in history we have not yet heard, and there are emotions connected to that war that we haven't yet considered. As a writer, Marum is not only skilled—he is honest. He knows that one's culture and heritage can be lost, and he is determined to give life to long-silent voices. When those of the past fade from our memory and art, then they are truly dead to us. As long as there are writers like Marum who aren't afraid to tell the stories, the dead will live on and our heritage will not be lost. The Scots-Irish majority who comprised the Confederate Army deserve the tribute of this CD.

You can purchase Cross Over the River here: Read Marum's bio, hear samples of his music, and keep up with news about him by checking out his website or from his blog

- Confederate Veteran


Sands of Aberdeen
CD Review written by Mike Milner

When loyal Scots were transplanted to Northern Ireland, their culture (and people) mingled and mixed with the local Irish. They then moved westward to the shores of America. Here, in a new “crucible,” was formed something uniquely American but still drawing life from its Celtic roots. This has always been one of the underlying messages of the music of Jed Marum. He has made many albums celebrating American heritage with Celtic influences. But Sands of Aberdeen celebrates Celtic heritage. It is traditional to be sure, but the mix of Irish and Scottish tunes with American influences creates a new feeling which must resemble what it was like when the two raw influences came together in Northern Ireland and America to form a unique Celtic harmony. Performing along with Jed on this CD are Hugh Morrison on button accordion, Mason Brown on banjo, guitar, pardessus viol, banjola, and vocals, Pete Dawson on whistles and Irish flute, Jaime Marum on mandolins, David Shaw on upright bass, and Curly Boy Stubbs on guitar and mandolin.

The first song, Sands of Aberdeen, is an original tune by Jed Marum. It is inspired by a book about a British fisherman sailing to fish off Canadian Labrador and returning to his home: “the silver city with the golden sands,” Aberdeen, Scotland. Here we have some very nice songwriting by Jed. The second track, The Rock and the Tide, is another song by the genius songwriter Brian McNeill. It is superficially about Bonnie Prince Charlie’s manservant but, of course, as with so many other Brian McNeill pieces, there is much more. It is also about man standing free and strong against the storms of oppression. The title has a manly feel to the words and the lyric is sort of “Hemingwayesque.” However, it also becomes a type of tribute to the toughness of spirit our ancestors needed to face the hardships of their lives. The third track, The Way Your Earth Moves, is a very sweet family song and an excellent piece of songwriting by Jed. Don’t be surprised if Cathy Ryan records this song. It is truly “made for her.” This song also shows Jed’s love of family and friends. It has a very good rhyme and the lyric stands as a tribute to his heart. This is a very beautiful song, and my favorite. The next track, the Lovely Leah Tune Set, is a combination of Within a Mile of Dublin and Lovely Little Leah. Just imagine yourself in an Irish local. To me this track sounds like the “Irish Pub Set!” The fifth track, Broom of the Cowdenknowes…Wow! What a new and interesting take on this traditional song from the Scottish Borders! Ed Miller would be proud! Starting out fast with a banjo, this version has a very “bluegrass-folky” feel with Hugh Morrison’s accordion as a sort of “Scottish reminder.” Some might see it as a “throw back” to Jed’s earlier Streets of Fall River days but it’s not, it’s still Scottish… This version is a “must hear.”

The sixth track, Uncle Joe, is another nice family piece: a ballad about the Irish immigrant uncle of a boyhood friend. Jed sings “every day I try to tell his story.” Jed does tell it in a caring way with some beautifully sweet notes and a nice lyric. The seventh track, Willie Coleman Tune Set, starts with the stark sound of Pete Dawson on the Irish flute on The Maids of Coolmore. Hugh Morrison then picks up the pace on the button accordion with Willie Colemans, Mason Brown comes in on the pardessus viol on Tripping up the Stairs, and finally everyone joins in on Out on the Ocean. How much longer until the North Texas Irish Festival??? The eighth track, Flora, The Lilly of the West is a traditional American song. Many versions of this song have been recorded by the likes of Bob Dylan, Joan Baez, and even the Chieftains. Here Mason Brown sings a version he remembers from his childhood in a haunting lead vocal. This track should become a favorite of folk music experts who have come to appreciate Jed Marum’s understanding of the American experience. The ninth track, Down by the Glenside, is an Irish ballad written by Peadar Kearney about the 1916 Rising. It honors the Irish Fenian patriots who died struggling to free their country. Here Jed sings in a clear vocal with bittersweet sadness. The tenth track, The Belles of Ontario, is a song written by Brian McNeill for Jed, and will be familiar to anyone who attends the Texas Scottish Festival. It is a fun little sing-along with a “special” reference to Canada. The eleventh track, The Town I Loved So Well, is a sort of autobiographical ballad by Phil Coulter remembering his boyhood in Derry, Ireland. Another tender family story, it is like looking at a photo album of snapshots, as are so many of Jed’s songs. The subject returns to find his beautiful boyhood home embroiled in the Irish war for independence. The twelfth track, The Star of the County Down, is Jed’s own take on a traditional Irish song. No other influences are apparent here, just pure Irish enjoyment! The final track, Annie Laurie, is a traditional Scottish song and as Jed says “one of my all-time favorites.” When Jed plays it you can almost hear the same sadness of Lorena, the tune of the American Civil War. But, why not?

That is really what this album is all about: the mixing of the Irish and Scottish cultures, and the synthesizing of these two into something new and “Celtic-American.” Everyone who enjoys Celtic music will find something to like on this CD, but you may even find something new, that is really something old!
- Ceili Magazine


Jed Marum has released 7 CDs on Boston Road Records. His music plays well on broadcast and Internet radio around the world, on syndicated and regional programming. His albums SOUL OF A WANDERER (2002) and MILES FROM HOME (2004) have each been listed on the Folk/Celtic DJ Most Played Artists list for 2 and 5 months respectively, in their first 12 months of release. Both albums made the BBC playlists along with Celtic Connections, Midnight Special and other widely syndicated programs.

Jed has recorded three albums with noted Canada and USA folk music producer, Paul Mills of Toronto and two with Scotland's Celtic music legend, Brian McNeill.

Hugh Morrison albums, UNDER A TEXAS SKYE and FEET TO THE FLOOR have played on Celtic broadcast and Internet radio, including the Thistle and Shamrock program.

The Lonestar Stout band - featuring Jed Marum with Hugh Morrison and Mason Brown will release an album called SANDS OF ABERDEEN in Oct of 2008. The album was produced by Paul Mills of Toronto ONT - and was recorded in the US and in Canada.



Jed Marum and Lonestar Stout use an unusual combination of instruments for unique and exciting sounds in traditional and modern Celtic music. They perform outstanding arrangements of Celtic music's best loved songs/tunes and they perform a number of powerful originals in the Celtic style. They are seasoned and comfortable performers with an easy and humorous presentation style.

In addition to licensing original songs to other recording artists, Jed Marum has licensed songs and recordings to a Black Hawk Productions television series called TRUE LIVES that ran on the Playboy Channel in 2007/8. He has written songs for the 2008 film release, BLOODY DAWN by Lone Chimney Films - which played on PBS and in select theaters. Jed will produce the sound track, which includes original compositions, for the next Lone Chimney Film called BLACK FLAG. This film is also expected to play on PBS after a run of independent theater showings.