Sing
Out! The collection
of songs and tunes on South of Nowhere offer not only marvelously
tight and fiery old-time fiddle workouts such as "Dog Passed a Ryestraw"
from the playing of John Summers of Indiana and the medley of "Sugar Hill/Sally
Anne" from the playing of Toast, North Carolina's Tommy Jarrell, but also
some wonderful original tunes from Bill's pen. "Uncle Charlie's Revenge"
is a retelling in verse of a tale told to Bill by Tommy Jarrell about his
Uncle Charlie. The centerpiece of the recording, "Anasazi Premonition,"
features Bill's poetic description of the travels to enlightenment we all
take in life. This is a song that becomes the more meaningful and beautiful
with each listen. There are even more treasures on South of Nowhere:
The Bollick Brothers "Beautiful" sung in wonderful two part harmony and
Libby's nod to the playing of Tampa Red and Big Bill Broonzy on "It Hurts
Me Too." The greatest surprise (and a secret weapon in the Hicks family
arsenal) is their daughter Anna, who sings back-up with her Mom and offers
strong lead vocal on Son Volt's "Tear Stained Eye," a curious addition
at first glance but a song that works so very well with the rest of the
collection. This is Bill and Libby's first recording together, and it portrays
a life of devotion and love. It's a collection of songs and tunes drawing
from their past musical connections as well as a wonderful preview of what
the future holds. Just one wish, lets not take eighteen years for the next
one, guys, ok? ...Tom
Druckenmiller, Oct. 2001
Old
Time Herald Bill’s
fiddle style begins with well-known Jarrell and Hammons influences, but
he has incorporated elements from artists as diverse as Kenny Baker, Stephan
Grappelli, Miles Davis, and Charlie Parker. He is ably accompanied by Libby’s
powerful guitar playing, which has acquired a quirky, rhythmically exciting
character derived from both classic fingerstyle blues techniques and hot-licks
flatpicking. There is something for everyone to enjoy on this release.
... Fans of The Red Clay Ramblers’ treatment of traditional fiddle tunes
will welcome rhythmically over-the-top versions of "Dog Passed a Ryestraw,"
"Ducks on the Millpond," and [Old Time] "John Henry." Blues cats will find
the combination of Libby’s skillful re-creation of Mississippi Delta fingerstyle
guitar with a sparkling, personal “torch song” vocal approach on "Big Road
Blues" irresistible. Standout vocal selections include "Beautiful," Bill
and Libby’s heartfelt gospel duet reminiscent of Blue Sky Boys material,
and Anna’s stunning version of "Tear Stained Eye" by Son Volt songwriter
Jay Farrar. Bill’s songwriting runs the gamut from deeply moving in both
a musical and lyrical sense ("Anasazi Premonition") to material that would
be at home in a Fabulous Furry Freak Brothers comic ("Uncle Charlie’s Revenge")....
The recording was made with few overdubs and possesses a clear, warm sound
with much immediacy. Vocals are extremely well mixed with instrumental
accompaniment. Libby’s guitar sound was recorded with outstanding fidelity.
The producers and artists attempted to capture “live energy” as opposed
to perfection, and were successful to the point of motivating this reviewer
to listen to his treasured Red Clay Ramblers albums again after many years.
...Steve
Senderoff, Nov. 2001
Durham
Independent Bill
boasts one of the state’s most impressive musical resumes: He was the fiddler
for Durham’s seminal Fuzzy Mountain String Band and a founder of its successor,
the Red Clay Ramblers. Here he demonstrates the remarkable flexibility
of his fiddling. Bill can power a robust dance tune, then easily
switch to an evocative, softly melodic violin part to accompany his own
story songs, such as "The Island Rockers.".... His four songs make South
of Nowhere extraordinary rather than merely well conceived. On
"Anasazi Premonition" and "Turn Out the Lights," Bill’s songwriting compares,
most favorably, with the RCA Victor recordings of the late John Hartford
and the classic work of Kris Kristofferson, respectively. His own
vocals, rough and world weary, prove utterly convincing, with Libby’s lighter
and more precise voice providing a perfect foil. Like its cover,
South
of Nowhere proves to be a fascinating musical mosaic rich in depth,
feeling and variety, running the gamut from traditional dance music to
serious singer-songwriter material. Art
Menius, 6/13/01
Victory
Music Review Though
traditional in spirit, the Hicks family has a great ear for contemporary
artists: they cover two songs by Dan Hicks (of Hot Licks fame) and Anna
leads the way through Son Volt's marvelous "Tear-Stained Eye" with Libby
backing her on vocals. The Son Volt choice shows that these musicians have
kept their ears open to newer voices all the while staying true to their
deepest roots. Tom McDonald, August 2001, page 13
Bluegrass
Breakdown, WPLN-FM, Nashville I
was also quite captivated by Bill & Libby Hicks. Bill has that
old-timey fiddling down to a science and Libby plays a fine, solid guitar.
I especially enjoyed "Big Road Blues" (speaking of guitar -- Tommy Johnson
would have been proud), "Sugar Hill/Sally Ann" (a killer pairing and my
favorite of the CD), "Ducks On the Millpond" and "Turn Out the Lights."
Dave
Higgs
Rambles
A Cultural Arts Magazine It's apparent
that Bill and Libby Hicks enjoy making music. Their pleasure comes out
in every note, every word. It's the same joy you'll hear on old releases
by Bob Wills and Bill Monroe -- making music for the sheer love of the
sound.
And they do a fine job
of it with old-time fiddle music like that which would have provided a
family's only entertainment in the days and areas where television, satellites
and computers were unheard of. Good old bluegrass-style pickin' and fiddlin'.
Which is not to say the CD is limited to just one music style. They've
included a beautiful waltz, some blues, love songs and a lovely gospel
song as well.
Veterans on the traditional
music front, Bill and Libby Hicks are quite well known and have been making
significant contributions for more than 25 years. Libby was teamed with
Lightnin' Wells in the '70s while Bill was honing fiddling techniques learned
from the likes of Burl Hammons and Tommy Jarrell. Together they are a musical
dynamo.
While I will always choose
the fiddle tunes when picking favorites, my "best pick" for this particular
CD is the combination of two Tommy Jarrell songs, "Sugar Hill" and "Sally
Ann," that is referred to on the liner notes as the violence medley. It's
a guaranteed toe-tapper, with outstanding picking and harmony and as much
regional flavor as a sugar-cured Virginia ham.
Joining her parents on
vocals for several tracks, Anna Hicks shows what good genes and being force-fed
music from birth will get you. She has a clear, strong voice that stands
well alone, but is equally beautiful when joined by her mother. Sheree
Morrow, 23 February 2002 |
Bluegrass
Unlimited Bill
Hicks, for those who are old enough to remember, was a [founding] member
of the Red Clay Ramblers, and before that, the Fuzzy Mountain String Band.
His fiddle sound was a hallmark of the Ramblers' sound. Fiddle tunes include
"Ducks on the Millpond," and a medley of "Sugar Hill/ Sally Ann." His improvisation,
which abounds here, is marked by a searing tone and melodic sense much
like a bebop horn player. His vocal ease is a strong contrast to his ambulant
bow. Libby Hicks nicely sings blues. But she gets to the core of the lyric
as on "Big Road Blues," and there is no mistaking what she is trying to
say. ...Robert C. Buckingham, October 2001
Dirty
Linen Now for
a couple of products of the musical community - Chapel Hill, North Carolina
- where this sort of music started being revived in the late 1960s and
early l970s. First is a delightful recording by two of the stalwarts of
that scene, Bill and Libby Hicks, who have been playing music together
for 18 years but just now got around to recording some of it. Bill, the
founding fiddler with the Red Clay Ramblers way back when, tears through
four sets of Round Peak tunes, blended over the years into his own powerful,
inimitable style and backed up by Libby's adventurous but rock-solid guitar
work. Swing is an important element of the Hicks duo's sound and they borrow
a couple of great Dan Hicks songs. Bill and Libby's voices work well together,
with Bill's strong and almost conversational lead tied together by Libby's
clear, high harmony. Libby's background is in the Piedmont blues, and her
talents in this field shine on several great tracks, especially Tommy Johnson's
"Big Road Blues." Bill's original songs, from the serious and lovely "Anasazi
Premonition" to the zany "Uncle Charlie's Revenge," are treasures, as well.
Bruce
E. Baker, February-March, 2002, p. 55
Green
Man Review Fiddlin'
Bill doesn't wait too long on a fiddle tune before he launches himself
out of it...Not only keeping rhythm, Libby rounds out the sound with some
nice harmonization on the guitar...The seeming abandon of Bill's fiddling
and the precision of Libby's guitar-playing make these some of the more
enjoyable fiddle tunes I've heard. But there's more than just fiddle
tunes here. Bill and Libby make excellent use of their daughter's voice
in a couple of tracks. "Evenin' Breeze" is country-tinged swing with two-part
backing vocals by Libby and Anna Hicks....a very fun song..."Uncle Charlie's
Revenge," a very humorous Hicks-penned song about a fiddle, a tree, and
Charles Jarrell, uncle to the famous fiddler Tommy Jarrell. Thoroughly
tongue-in-cheek and thoroughly enjoyable, this track is the perfect icing
to a remarkable CD. Brendan Foreman
efolkMusic
Old-time
music fans consider fiddlin' Bill Hicks a living legend. One of the founders
of The Red Clay Ramblers in the early 70's, his playing and singing have
been extremely influential in the traditional folk music scene. This album
is a duet of love with spouse Libby, and was smartly picked up by the respected
Copper Creek label. It contains a mix of old-time tunes, blues, original
songs and old hymns. Their great respect for the music can be heard in
every note. ...Chris Frank
SPBGMA's
Bluegrass Music News Bill
Hicks visited and learned from fiddlers such as Tommy Jarrell and Burl
Hammons. Bill's fiddle is very "old-timey," and he gets a bit wild on "Uncle
Charlie's Revenge." That is one funny song and was written by Bill. Bill
collected and performed old fiddle tunes with the Fuzzy Mountain String
Band and was a co-founder of the Red Clay Ramblers. Libby Hicks worked
in a duet with Lightning Wells, an old-time and blues musician in North
Carolina. Bill and Libby have been together for eighteen years. Their music
is definitely old-time country music with some very nice blues thrown in
to sweeten the mixture. "Big Road Blues," written by Tommy Johnson, is
a good showcase for Libby's touch with the blues. My personal picks
were "Tear Stained Eye," featuring Bill & Libby's daughter Anna's lead
to Libby's tenor and Bill & Libby's duet on "Beautiful." There are
some good fiddle tunes with aggressive guitar runs. Those fans who really
dig "old-time" country music will love South Of Nowhere. ...Frank
Overstreet
Northern
California Bluegrass Society Bill
and Libby have been playing music together for 18 years and they have developed
a synergy that supports each other's instrumentals and vocals. Bill spent
many years learning from the traditional fiddlers like Tommy Jarrell in
West Virginia. He was part of the Fuzzy Mountain String Band and the Red
Clay Ramblers, two groups that were influential in old-time music and bluegrass.
Libby's influences were the old bluesmen and she learned over 200 songs
in duets with Lightnin' Wells. The CD is an amazing collection of original
songs, old-time fiddle tunes and bluesy numbers with Libby's rumbling rhythm
guitar and Bill's fiddle weaving around the vocal lines. Bill has four
original tunes on the CD: "Anasazi Premonition", "Turn Out The Lights",
"The Island Rockers" and "Uncle Charlie's Revenge", all singer-songwriter
images of golden moments on the beach, a stolen moment in a motel, and
dancing to a Telecaster.
Libby's
blues vocals on "It Hurts Me Too" and "Big Road Blues" make these songs
her own creation and the guitar work will rival any Mississippi Delta wanderer.
Their daughter Anna joins them on several songs and their harmonies together
are seamless and a joy to hear. This CD is like peeling and eating an orange;
there are wonderous parts to be savored and it is worth the time to take
each song and hear it over and over and extract the many nuances in each
segment. Brenda Hough
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