Customer Reviews

Wellspring

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Originally from Mississippi, with a Master's degree in Southern Studies under her belt, singer/songwriter Caroline Herring found herself in Austin, Texas in 1999 pursuing a Ph.D. in American Studies. It soon became apparent to Texans that she has a keen intellect, aptitude and talent for writing hard-hitting songs which have both a literary foundation and earthy sensibility. A paradox, perhaps? No, just soulful. With the support of the Blue Corn label, her rise in the Austin music scene has been fast. Her 2001 debut, "Twilight," was an immediate hit, and she was named Austin's Best New Artist in early 2002 by the local newspaper and Austin Music Awards. At that time, she worked for Texas Folklife, accompanying traditional Tejano musicians to performances and shows. Marriage took her away from Austin in 2002, following her new husband's academic pursuits to Washington D.C., and currently to Atlanta.

Caroline Herring's southern music flows with influences of country, folk, blues, gospel and bluegrass. Caroline's sophomore release, "Wellspring," recognizes the significance of two key sources of strength in her life - Austin and her husband. Concerning the former, she says, "Texas, Austin specifically, was the source from which so much good came for me." Like the springs of central Texas, her music bubbles clean, pure and coolly refreshing. Concerning her husband, in her self-penned "Magnolias," she sings "we roughed through the wellsprings of our early days..."

The changes in Herring's life may explain why there are more relationship themed songs on "Wellspring." Being deceived and "strung along," is the tale in "The Way That You Are." Caroline's gift for poetic balladry is best illustrated in "Mistress," the story of an East Texas slave and her relationship with a plantation owner. "Mortified" is about "figuring out why we fail and fall in ways we never wanted to, but knew we would have to." Searching for the explanation may be elusive, especially as long as "the crumbs from the table kept me satisfied."

She's also adept at incorporating geographical and historical references and imagery to reinforce her messages. "Trace" makes reference to the Natchez Trace, a trading route in Mississippi, while "Magnolias" mentions her love of Austin and the Frio. In "Colorado Woman," she sings of tumbling with the dustbowls across the Oklahoma plain, but "tonight I want to be a strong Colorado woman, I don't want to be your Mississippi girl. There are times I need you to hold onto, and there are times I got to hold on by myself."

Besides Herring on vocals and acoustic guitar, "Wellspring" includes Rich Brotherton (guitars, mandola, glass harmonica, dulcimer and vocals), Bryn Bright (bass, cello, vocals), Billy Bright (mandolin, mandola), Eamon McLoughlin (fiddle, viola), and Jeff Plankenhorn (dobro). Other accompanists put percussion, accordion, pedal steel and organ into the mix.

Produced by Rich Brotherton (Robert Earl Keen), this album balances catchy arrangements with the need to keep Herring's gutsy alto in the forefront. From the album's first vocal strains to its last, one never loses interest in her appealing vocals. The impressionistic songs offer a fair amount of quick, memorable lines. The instrumental accompaniment is first-rate without going overboard in any attempt to steal the show. Herring has now fully developed a personalized signature sound that revolves around well-crafted original country and folk music, with stories and messages that are very compelling. (Joe Ross, staff writer, Bluegrass Now)

Caroline's first solo CD, "Twilight", helped me overcome fifteen years of musical burnout on country/folk/bluegrass from the 80s. "Wellspring" showcases Caroline's growth and maturity, with finely crafted tunes, delicious lyrics, and insight into the core of of something that used to be - that half-mythical source of Southern music, the artesian font that country, bluegrass, and the blues all draw from.

She leads off with a winner - "Trace" actually had me singing along, much to the disbelief of my spouse. Listen to her lyrics - "You're what I call reasonably attractive / with an ego that's hyperactive" on the honky-tonk ballad "Texas Two-Step" had me replaying the track, just to make sure what I'd heard, then laughing - we've all known those guys. I like "Mortified" very much - I just don't know how to describe it.

"Magnolias" is a love song, pure and sweet and sincere, a story I can picture in my mind; "Colorado Woman" is an arguement between independence and need, co-written with her husband. "The Way That You Are" is a nice, Patsy Cline-ish number, a lament on men and the things they do wrong.

Caroline is so deeply rooted in the South that her ventures outside just make the hold stronger. The mountains of Colorado, the rain forests of Washington, just make the smell of magnolias sweeter when we return home. With "Wellspring", I can get a whiff of what I've lost by leaving. Listen and maybe you'll feel some of what you're missing, too.

Her second CD and although I think her third one is her best I can't really quibble with this one. Solid songwriting, excellent backup and her sweet voice. If you like country-tinged folk you should enjoy this.

Caroline's earlier work like Wellspring is not even close to her recent Lantana and Golden Apples of the Sun. I love folk music that tells a story, and Caroline does this. Her writing is wonderful, the words meaningful, but until Lantana, her voice did not reach the richness and depth it now has. I listen to this, I liked it, but her recent stuff -- wow.

Wow. This is one of the most addictive albums I have listened to in recent memory. Herring's song lyrics are sometimes densely layered with meaning, references and nuance, but they are always expertly tuned and as a result what sometimes takes a good few listens to explore intellectually is very quickly felt. There isn't a song on the album that I don't love, with perhaps the catchiest being the upbeat independence expressed in Colorado Woman, the nostalgic and poetic opening song Trace, and the wonderful zinging twist at the end of Mistress. I cannot recommend this album highly enough.