Customer Reviews

Low Country Suite

5 star:		(3)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Playing Time - 42:48 -- From Charlottesville, Virginia, King Wilkie has a new contemporary Americana sound. Named for Father of Bluegrass Bill Monroe's favorite horse, the band's easy-going acoustic jaunt in this set is more of a canter than a gallop. Rather than high lonesome bluegrass, King Wilkie's "Low Country Suite" gives us a soothing folk-pop sound with rootsy feeling and earthy lilt. Striving for a more personal musical statement than traditional bluegrass afforded them, their approach has come to emphasize life experiences, their individual strengths and personal influences.

Initially formed in 2002 by Ted Pitney (guitar) and Reid Burgess (mandolin), these two graduates of Kenyon College in Ohio moved to Virginia to start a bluegrass band. The rest of the group includes Abe Spear (banjo), Drew Breakey (bass), Nick Reeb (fiddle), and John McDonald (guitar). In 2003, King Wilkie signed with Rebel Records. In 2004, they won IBMA's Emerging Artist of the Year Award. In 2005, their thoughtful melody-driven songs began marking an evolution of their musical makeover. The compositions on "Low Country Suite" are a number of pleasantly smooth movements that take us on a breezy jaunt through nostalgic, romantic or placid emotions. With some understated lap steel, organ, piano, harmonica or percussive embellishment in the mix, the set's result is one of mostly serene, laid-back imagery. "Angeline" is one of the more raucous offerings, with a hint of 1970s folk rock tonality. With its raw emotion and gritty realism, "Wrecking Ball" is a wild, thrilling ride with old-time spirit. "She's a wrecking ball coming through my wall so tall, like a house of straw these beautiful dreams will fall ....." The slow swing and bright lyricism of "Ms. Peabody" also provides some nice diversity to a mostly ethereal set mainly about "restlessness, coming of age, loss of innocence." The themes of absolution and liberation are clearly stated in "Captivator."

Produced by Jim Scott, an objective of "Low Country Suite" was to capture the band's own pioneering spirit in a manner reminiscent of the Byrds, Gram Parsons, Rolling Stones, Neil Young, or Bob Dylan. "King Wilkie creates their own genre of music -- a beautiful, true and honest sound," Scott once said. It's a lofty goal, and King Wilkie demonstrates both the aptitude and confidence to make a significant mark. The band now has the support of the reputable Rounder label, and I commend them for their flexibility, adaptability and relaxed sophistication. Thirty years from now, "Low Country Suite" may not be looked at as their defining work that established King Wilkie as an irresistible, clarion voice, but it certainly is a genuine, relaxed, good-time vibe full of alluring radiance and emotional pathos from their collective gut. (Joe Ross, staff writer, Bluegrass Now)

Do yourself a favor and buy/download/share this album. Best so far of 2007, and combines influences such as the beach boys, the byrds, stones, simon/garfunkel. But the voices here (both literal and lyrical) set them apart as their own. They aren't a bluegrass band, or a country band, or any other "kind" of band - they're just King Wilkie.

oh, and see them live in small venues while you still can.

thank me later

Excellent!
A little something for everyone!
Music to relax, dance, work, clean, drive, and play to!
I listen to it over and over again.
King Wilkie has earned another loyal fan!

A slide away from just a bluegrass album, like "Broke", which also is great album. This one goes towards more of the the Jayhawks, etc. Solid album with "Wrecking Ball", "Savannah", and the best song on the album "Captivator", which is one of the best songs I've heard in years. Great vocals and playing throughout. Thanks!!

I am a long-time Wilkie Fan and have been following the band for several years...but I was irked by the band's carelessness in producing a record that pales in comparison to their other efforts. The three stars they earned are for a few total gems on the record (Raising of the Patriarchs, Millie's Song, Savannah, Steel and Stone), which by far make up for the album's shortcomings and deem it worth owning, however, tracks that are repeats from previous releases were heart-wrenchingly blah and approaching off-key compared to the quality of the same tracks on other albums. Eek. I'm not sure how this one passed by the censors. Still a huge fan of the band and would suggest buying this and all their other albums. Great guys, solid band, poor judgment.