{"id":2299,"date":"2013-05-04T19:58:30","date_gmt":"2013-05-04T19:58:30","guid":{"rendered":"http:\/\/216.71.127.204\/wordpress\/?p=2299"},"modified":"2015-10-20T19:58:48","modified_gmt":"2015-10-20T19:58:48","slug":"moors-mccumber-against-the-grain","status":"publish","type":"post","link":"https:\/\/houstonmusicreview.com\/wordpress\/2013\/05\/04\/moors-mccumber-against-the-grain\/","title":{"rendered":"Moors & McCumber – Against The Grain"},"content":{"rendered":"\n\n\n\n\n
Written by James Killen <\/span><\/td>\n<\/tr>\n
May 04, 2013 at 12:01 AM<\/td>\n<\/tr>\n
\"Image\"I wish that I could start out this CD review by saying that I\u2019ve been following Moors and McCumber for some time, but the truth is that I have just been introduced to them. Eddie Ferranti urged me out to one of their shows several weeks ago and I was entranced by their harmonies and musical chemistry. I picked up their first two CD\u2019s at the gig and \u201cGravity\u201d (their second production) immediately displaced the Greencards\u2019 \u201cMovin\u2019 On\u201d as my favorite pop bluegrass disc. When I was given the opportunity to preview and review the newest release, \u201cAgainst the Grain\u201d, I jumped at the chance.<\/p>\n

Before I get much further, I want to make sure that I don\u2019t mislead any bluegrass purists by calling \u201cGravity\u201d a bluegrass CD. James Moors and Kort McCumber would be the first to tell you that they pull influence from many genres, including Celtic, folk, blues, and country. The vocal harmonies and the string interplay that are the essence of the duo’s chemistry play well in the bluegrass arena, but are certainly not limited to it.<\/p>\n

\u201cAgainst the Grain\u201d takes the band another step down the road to musical diversity. Kort McCumber has added the rich tone and textures of the cello to several of the tracks. Most of the lead vocals on the disc are by James Moors, with McCumber in close harmony. Moors\u2019 voice has that smooth texture that reminds me of Rodney Crowell and his lyrics are poignant and often nostalgic in tone. McCumber seems to be one of those fellows that can get music out of anything, with or without strings. The credits show him playing a list of twenty instruments on this disc alone. All of the tunes on this disc keep my interest. There is no track skipping on this one, ya\u2019ll.<\/p>\n

\u201cLove and War\u201d plays on a really great lyrical hook over a deep cello rhythm and excellent vocal harmonies. \u201cBuried in Stone\u201d uses beautiful imagery to tell of seeing potential art in the common things of life. \u201cI Used to Run Around\u201d leans a bit toward the Celtic side of these two proud Irish-Americans, featuring the Irish tin pipes and Irish tenor banjo on the story of a rounder\u2019s surrender to the fate of settling down. \u201cIt\u2019s Different Now\u201d is a beautiful tune that makes me think of an American folk ballad imposed over a classical string quartet featuring the cello, Irish bouzouki, Irish tenor banjo, pump organ, electric guitar and electric bass.<\/p>\n

\u201cSlan Abhaile\u201d is one of the most interesting tunes on the disc. The title translates from Irish roughly to \u201cYa\u2019ll be careful on the trip home, now\u201d. They feature the Irish tin whistle and fiddle West African talking drums, delving deeply into the roots of American roots music on a rhythm and repetition that works for either Celtic or West African music.<\/p>\n

The only cover song on this recording is Ellis Paul\u2019s \u201cMartyr\u2019s Lounge\u201d (the guys covered Ellis\u2019s \u201c3000 Miles\u201d on \u201cGravity\u201d, so I detect a pattern of respect here) and it is one of the two tunes on the disc that feature Kort McCumber on lead vocals. James Moors is in the harmony and helps to weave a string tapestry playing acoustic and electric guitars to McCumber\u2019s bouzouki and Wurlitzer.<\/p>\n

\u201cFeeling in Your Belly\u201d brings back the pop bluegrass feeling with enough na-na-na\u2019s to fill a Beatles song, lyrics that draw a picture of a rural working class community, and a soulful harmonica solo.\u00a0 \u201cRaining Down in Georgia\u201d, Kort\u2019s other lead vocal tune, plays on the duplicity of water, that \u201cgives us life\u201d when it rains and \u201ctakes away\u201d when it floods, in a country blues package. \u201cHey, Hey\u201d is a bluegrass progression that presents that feeling of well-being when the work is all done and you can just sit on the porch and enjoy friends and family. The disc closes out with the title track, \u201cAgainst the Grain\u201d. The sentiment is one of persistence against adversity with a simple guitar part behind the vocal harmonies and a cello part to take us out.<\/p>\n

I\u2019ve got to say that Moors and McCumber deliver a live performance that has all of the energy that two people that enjoy playing together can generate. They seem to know each other\u2019s minds like trapeze artists or team jugglers do. I don\u2019t know that a studio disc can completely deliver that live energy. \u201cAgainst the Grain\u201d does exhibit a team effort by two troubadours that have found a way to create together like Crosby and Nash or Simon and Garfunkle did in days past. This disc takes Americana back to where it came from and where it lives. Look for it June 1st.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

Written by James Killen May 04, 2013 at 12:01 AM I wish that I could start out this CD review by saying that I\u2019ve been following Moors and McCumber for some time, but the truth is that I have just been introduced to them. Eddie Ferranti urged me out to one of their shows several… <\/p>\n

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