Customer Reviews

Aereo-Plain

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"Aero-Plain" has been called the "Revolver" of bluegrass. This 1971 release by John Harford, preceded the Dirtband's "Will the Circle Be Unbroken" (presumably the "Sargeant Peppers"), by well over a year. "Aero-Plain" is a song cycle which celebrates the rise and fall the old time music subculture. Ironically, Hartford's coda to bluegrass was premature, as "Aero-Plain" found a hip young audience. As a result, bluegrass began to morph into "new-grass" and "progressive" variations for 30 years. Producer David Bromberg had as much to do with the success of "Aero-Plain" as Hartford. Bromberg, a fellow traveller in folk circles, resisted efforts to do second takes, or embellish the tracks with overdubbing. Bromberg captured a pristine sound quality with the freewheeling ambience of a back-porch picking session. Hartford's quirky personna was served well by the lean production values.

The Aeroplane Band assembled by Hartford was astounding line-up of noteable country instrumentalists. Vassar Clements, ex-Bill Monroe fiddler; Norman Blake master of mandolin, dobro and flat-top guitar; and Tut Tyler, legendary innovator of the flat-picked dobro style. Randy Scruggs, normally a lead guitarist, played bass on the "Aero-Plain" session. Hartford moved with suprisingly equal facility between banjo and guitar. The song cycle begins with A.J. Brumley's anthem to old time gospel radio, "Turn Your Radio On". For 45 minutes, Hartford is the tour guide, sweeping the listener away on a wonderous "Steam Powered Aeroplane"; back to Hartford's days as a river-boat hand, down to the city dump where old timers pass relive past glories, up on the hill where they do the boogie, pausing to reflect on his first love, and landing at the Grand Ol' Opry; the country music shrine, Ryman Auditorium. It's sentimental stuff, but Hartford keeps the pathos at bay with his eccentric stoner/philosopher humor. "Boogie" may be the most bizarre song to ever reach vinyl. Accompanied only by foot stomping, Hartford grunts an invitation to "boogie", interrupted only by long fits of heavy breathing. "Holding" is about a frantic search for cannibas. The scope of the album is breaktaking, as Hartford skillfully lays claim to bluegrass credibility with a loopy counter-cultural sensibility.

In 2001, exactly 30 years after the release of "Aero-Plain", the bluegrass revival that Hartford shaped, rose like a sleeping giant to challenge the MOR country music establishment. The astounding dark-horse success of the "Oh Brother Where Art Thou" soundtrack, sent the pop/rock stars of Nashville scrambling to figure out what a mandolin was, and how to use it on their next album. Hartford probably got a smile out of seeing his musical revolution come to fruition. "Oh Brother" (the "Nevermind" of bluegrass?) sold 3 million copies largely on word-of-mouth and won a Grammy for Album of the Year. They can tear down the Grand Ol' Opry, but the music that built it refuses to go away.
(BUYER TIP: In 2001 "Steam Powered Aeroplane Takes" was released. There are some fascinating outtakes from the 1971 sessions included; but this is the album that contains cream of the session).

Well, many here have said it more eloquently than I, but I was a friend of Hartford's, and spoke off and on to many musicians over the past 30 years and every one, including myself, point to this recording as Life Changing. After we all heard this, we stopped being afraid. It's that simple. Sam Bush, Tim O'Brian, Pete Wernick, Tony Trischka, everybody that ever played progressive Bluegrass or New Grass points to this Album as the shining beacon that inspired them to take the risks that lead them to where they are today. I'm still trying to imitate what Vasser was doing on this album 30 years later... It's one of the few Perfect recordings of all time that I can genuinely recommend and say if you don't like it, I'd be absolutely amazed.

It's hard to believe that this album is now thirty years old--and even harder to believe that John Hartford isn't around any more to make his own brand of good time/old timey/bluegrass/country music.

When this album first came out on Warner Brothers in 1971 (now re-released by Rounder), the listener was confronted with this image of a shaggy hair, bearded hippie with aviator goggles. Don't let the look fool you. Hartford's lifestyle may not have been traditional, but the music contained on this disc is as traditional as his influences, notably fiddler Ed Haley and banjo players Earl Scruggs and Stringbean. And Hartford surrounded himself with like-minded musicians for the album: Norman Blake (guitar, mandolin), Tut Taylor (Dobro), Vassar Clements (fiddle) and Randy Scruggs (bass).

This album has it all--tight harmonies (listen to the gorgeous reading of the gospel number "Turn Your Radio On"), terrific songwriting (Hartford wrote all but the traditional "Leather Britches," "Turn Your Radio On" and "Tear Down the Grand Ole Opry," the latter he co-wrote with Robert Taylor), and wonderful picking throughout. While Hartford plays banjo on most songs, "Presbyterian Guitar" showcases his talents as an accomplished guitar player as well. Sure, "Boogie" is a bit goofy, but that's just John being John. In "Steamboat Whistle Blues" he sings "Bluegrass music is a thing of the past." Hartford helped introduce it to a brand new generation and was a major influence on bands like Newgrass Revival. He also spent the next three decades showing his audience that while bluegrass music was "of the past" it was a viable music force for the future as well. HIGHLY RECOMMENDED

John Hartford has a way of taking us beyond the plastic confines of postmodern America and back to a world of muddy rivers, rolling green hills, and the syncopated rhythm of old fiddlers twisting tunes out of the air and into our consciousness. This album is one of the most original in the bluegrass/old time pantheon. It's one of those rare opportunities to experience first-hand the reflections of a true old soul looking out at an ever "progressing" America, and the silliness with which John tells the story is both delightful and comforting. "Well the city's grown up so it looks all strange like a crossword puzzle on the landscape. Looks like an electric shaver where the court house used to be." Also, First Girl I Loved is one of the prettiest (unrequited) love songs around. These songs are absolute gems to be listened to and admired for years and years. If you don't yet have Aereoplane, do yourself a wonderful favor and get it now. The cover photo alone is worth the price of the CD!

Driving alone in Joshua Tree with snow on the ground and this CD in my player is one of the peak musical experiences of my lifetime. The magic on this disc has yet to replicated by any other performer(including John Hartford himself). There is not a bad song on the disc. Infectious, funny, heartwarming and wonderful, this is my favorite album of all time. 'Nuff said.

"Back in 1963-64, we used to close the `Red Carpet' at 1AM and head down to Jerry's. (we always drove because if we had walked, we would never get passed Red Thompson's place). We would all crowd around a small table, sip our Schoenlings (no one had heard of Stroh's or Busch yet) and listen to the best banjo playing I had heard. On Fridays this old coot would hold court with a banjo accompanying himself with a kazoo. I never did hear his name but I understand he lived down on Highland Ave. Anyway, John Hartford's album jolted me back to that memory because of his banjo. This is music which enters the ear and actually bounces around a couple of times before it goes out the other. So much is good but special note to a fine `Turn Your Radio On' and `Tear Down the Grand Ole Opry.'" John T. Walker, Dayton, Ohio.

John Hartford gained notarity and fame as the composer of Gentle On My Mind. And, probably even more so as Glen Campbell's banjo player, during his three year run on prime time TV. But when he resurfaced as the bushy-bearded hippie blue grass freak, united with Nashville's elite pickers, Norman Blake, Tut Taylor, Vasser Clements and Randy Scruggs, the oh so conserative world of blue grass music took notice. Sure his fiddle and banjo playing were top notch and his voice understated and pleasant enough. But what was all that Hey Babe You Wanna Boogie....EH, EH, EH, EH, EH all about? And what's with all the references about token up? Could it be the clean cut Johnny Hartford of Glen Campbell days was smoking the evil weed? And worse yet was he actually mocking the sacred traditions of Gospel Radio and heaven forbid the Grand Ole' Opry? Fret not people. If you listen carefully and read between the lines, there's enough good natured, tongue-in-cheek good humor to go around, without offending anyone.

What John Hartford did create in this masterpiece was a slice of Americanna, complete with Mississippi River boats, recollections of falling in love with your best friend's sister, while walking home from school and flying over the chekerboard farm land in an old time steam powered aeroplane. You know, simple stuff about the good ole days, when folks gathered around the radio to listen to Ernest Tub, Roy Acuff or Bob Wills. It's all about a time when you took your best girl to a dance at the local Grange Hall and they played fiddle music all night long. So what if you and your buddies snuck out back to smoke a little bit of that mara-ju-wanna? It didn't hurt anyone.

All I know is I miss the good ole' days when my buddies and I would lay around the shack in Putney, Vermont....Toke-Up, throw a little frisbe, maybe play some darts and listen to John "sing"....Hey Babe You Wanna Boogie?...Boogie, Oggie, Oggie With Me....Hey Babe You Wanna Boogie?....Eh Eh Eh Eh Eh!!!!!!!

When John Hartford released this album back in 1971, his writing talents were at their peak. He assembled an outstanding cast to back him up for the recording, and the perfect chemistry resulted in one of the finest albums from Nashville during that era. Make no mistake. This is not straight bluegrass...it very much started a music category of it's own, to which the likes of the New Grass Revival followed. The music on Aero-Plain stemmed from all the artist's bluegrass heritage, mixed with a youthful injection of the early '70s post-psychedelic southern social scene. If you have somehow missed ever hearing this album and only know Hartford's work from his Glen Campbell days, take a serious afternoon of listening and enjoy both "Aereo-Plain" as well as "Mark Twang." They are genuine classics.

Timeless - a word used cheaply by marketing hucksters, it was originally meant to signify music that retains relevance throughout the passage of the years. Brilliant - a word often used to signify pretentious mediocrity that is endemic in so much of modern culture. These words that flow so boringly from the TV heads and the entertainment media hellbent on self perpetuation still have a place and a meaning when used properly. Such is the case when discussing John Hartford's "Steam-Powered Aereoplane."
Hartford was a songwriter that was able to cross several musical styles. "Gentle On My Mind" has been covered by hundreds of artists in pop, jazz, country and bluegrass music. His signature song made it possible for Hartford to pursue his true loves and maintain his integrity (such as it was) throughout his career because the royalties kept poring in from this one hit. He had several other songs that were covered by other artists, but none came close to "Gentle." So few songwriters ever come close to reaching the audience that this one song attained that it is silly to compare its success to others.
This brings us to "Steam-Powered Aereoplane." A bluegrass concept album (ugh! more pretense) that mimicked a southern radio station complete with shameless plugs, struck a chord with listeners in the early 70's. It was recorded in one take, flowing from song to song with an ease that bespoke volumes of the production values of the artist and accompanying musicians. Starting and finishing with the simple refrain to "Turn your radio on, and listen to the music in the air...", Hartford wrote songs of poignant love, desire, social commentary, sillyness and threw in an instrumental or two just to keep the audience's feet aflutter. Surrounding himself with the likes of Vasser Clements, Norman Blake and Tut Taylor, the quality of the playing is as fine as a mountain brook on a spring day. Nary a note is missed, the harmonies are spectacular and the creative genius of this pre-eminent group of musicians rings like a bell from the opening numbers. Sure, "Hey babe, ya wanna boogie" is a little on the sophomoric side, but that is part of the fun and the feel of small-town southern radio from 30 years ago. That's the point - it's fun, it's part of the sounds in the air. Join in and see what you can hear.
This collection of tunes and their arrangements is truly timeless and it was put together brilliantly by the late Mr. Hartford. From teasing the social movements of the time to nostalgic looks at first love with everything in between, these songs hold up so well it is frightening. They are still relevant and touching, beautiful and pure. Do yourself a favor; turn off your TV and turn your CD player on to this wonderful masterpiece. You will be hooked.

John Hartford is truly an American original. Creative, funny, eccentric - but also deeply reverent of American tradition, and an astonishingly accomplished and painstaking songwriter and musician. This CD showcases all these sides of him. He shines as a singer, a songwriter, a banjo picker, and a guitarist.

The songs here range from the traditional ("Turn Your Radio On", "Leather Britches") through the nostalgic ("Tear Down the Grand Ole Opry") to the almost surrealistic ("Up On the Hill Where They Do the Boogie", "Steam Powered Aereo Plane") to the downright weird ("Boogie").

John's talent is too immense to be captured in any one recording, but this one captures more of it than any other. Every cut is a winner, both as a composition and as a performance. The picking and harmony vocals from Norman Blake, Vassar Clements, Tut Taylor, and Randy Scruggs are sublime, and the cover photograph is worth the price of the CD.

There is not a note nor a word on this CD that I would change.