Sing Out! http://www.singout.org/,
Vol 43 No. 4 Summer 1999
RICK LEE
There's Talk About A Fence
Waterbug 47
Alhough Rick Lee can pen a good
original song or tune, and does so on
this CD, most of the 13 songs are Lee's
interpretations of songs by others or tradi-
tional songs.
This is a man who has lived. His voice, rich with experience, knows its way around a song. Thus, on Chuck Brodsky's excellent "The Come Heres And The Been Heres," (a line from which Lee takes the title of his CD) Lee can sing it as a "Been Here."
Lee divines uncliched songs fresh to the ear. When he chooses a traditional ballad, like his arrangement of "Dives And Lazarus" (Child 56), it's one that hasn't been done to death. Similarly, the songwriters he chooses, such as Andy May, Jerry Bryant, Bob Stuart, Lauren LeCroy May and Sigerson Clifford are not common names on the songwriter circuit. He even explored the Tennessee Folklore Society via Richard Blaustein for the chill- ingly true American traditional song "Lu- natic Asylum." "The Ballad Of Harbo And Samuelson" by Bryant commemorates a pair of adventurers that crossed the Atlan- tic in an 18-foot boat well over a hundred years ago. "Rainbow's End" is a charm- ing, pop love song. Lauren May's "Don't Say Goodnight" an erstwhile lounge song varies the mood. Lee returns to the com- plete text of "The Ballad Of The Tinker's Daughter," a 7-minute epic in its original arrangement. He had performed a trun- cated version of this tale of death in child- birth, murder, suicide, and ghostly revenant on an earlier recording.
Andy May produced the CD in perfect sync with Lee, a mostly old-timey sound, highlight- ing Lee's ability on banjo and keyboards, and May's own talent on guitars and man- dolin, or Lee on solo piano/keyboards. There are a few instrumentals where they let loose with the picking and keyboards. Lee provides contact information (includ- ing e-mail addresses) in the CD booklet for virtually every song on this recording. Lee closes with the inanely funny "Don't Pet The Dog," but the true closing song is the one that proceeds it, one of his few origi- nals "The Best We Can Do." In the mold of the best of Pete Seeger and Si Kahn, it's a simple and wonderful thought to treasure.
This CD is a folk music lover's delight
filled with honest music explored by a wise
singer. - RWarr
Dirty Linen, http://www.dirtylinen.com, Folk & World Music #83 - August/September '99, p. 64
Rick Lee There's Talk About a Fence Waterbug WBG 0047 (1999)
Rick Lee is a folksinger in the old vein, one who is more interested in singing a good song than becoming absorbed in narcissism that envelops many a singer/songwriter. Lee does write songs, of course, good ones like "The Best We Can Do" or the two instrumentals here, but his talent seems to be bringing to life and bringing to light fine songs by others that the listener may or may not have run across.
Rooted in a respect for tradition, Lee gives us fine renditions of "Dives and Lazarus" and "Daemon Lover." Drawing from more recent contributions to tradition he sings the full version of Tim Dennehy's setting of "The Ballad of the Tinker's Daughter." Lee also sings the harrowing "Lunatic Asylum," composed by some anonymous patient in a turn-of-the-century asylum in Tennessee.
The other songs here are equally good, not a bad one among them, but my two favorites are Chuck Brodsky's recent portrait of small-town conflict, "The Come Heres and the Been Heres" and Jerry Bryant's "The Ballad of Harbo and Samuelsen," the story of two Norwegian immigrants and their heroic row across the Atlantic.
All these good songs would be for naught if Lee were not such a fine singer. His voice fills a room, a full, warm voice a bit like Si Kahn's, with resonance and not a lot of unnecessary ornamentation. His arrangements are nicely varied and appropriate to the songs. --Bruce E. Baker (Goose Creek, SC)
copyright 1999, WBG 0047
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This review is written by Kevin McCarthy, 5/99
http://www.surfnetusa.com/celtic-folk/index.html
mailto:celtic-folk@surfnetusa.com
Framing an eclectic mingling of songs with his resonant, adaptive and
charming voice, Rick Lee pinballs among a mix of subject matter in his
latest release. Veering from levity to somberness, spiritual to earthy,
he also offers a couple of instrumentals, and even a tune in the styling
of Nat King Cole.
Complementing his vocals with pleasing banjo, guitar, keyboards and mandolin instrumentation, Lee appears a musical raconteur, able to authentically present diverse musical material in various entertaining styles.
His banjo-driven version of Chuck Brodsky's "The Come Heres and the Been Heres" is packed with a greater sense of gravitas than Brodsky's, due to both Lee's banjo play and his more worldly-sounding vocals. He comes off as someone who has been around for awhile, and probably falls into the 'been heres' group--although the lyrics place the song's protagonist in a mostly neutral observational position.
Best known from William Pint's and Felicia Dale's version, "The Ballad of Harbo and Samuelsen" is an inspiring tribute to a couple of brave Scandinavians who rowed across the Atlantic from New York City to Le Havre, France, in 1896. Lee, on keyboards and backed by Andy May on guitar, does a compelling presentation of this true story.
"Lunatic Asylum," with banjo again in force, is a mournful spiritual depicting the tragic fate of the mentally ill in the early 1900s. Clutching at the belief in a better life without the infamous 'jackets' after passing on, the patient's vision of an afterlife is the only solace available to get him through the day. Quite endearing due to its authenticity, are Lee's simpleton-like voice and the use of perchance naive phrases such as "I'll be over double trouble" and "I'm bound for the happy land of Canaan."
The colorful and uplifting "Rainbow's End" is a delightful detailing of the wondrous gifts shared through the links of love. "Don't Say Goodnight" is Lee, along with Dave Howard on guitar and Bill Walach on mandolin as the Rick Lee Trio, in a Nat King Cole-like romantic musical style.
Backing himself on piano, Lee's "The Ballad of the Tinker's Daughter" is a seven-minute short story bridging marriage, birth, anger, ignorance, rejection, murder, grief and suicide. This cut, despite its melancholy material, is an absolute delight due to the synthesis of the lyrics, music and vocals.
"These October Days," written by John Lincoln Wright, is an image-laden composition bursting with feelings of joy experienced throughout the seasons of life. In this cut, these feelings described coalesce in fall as these exquisite remaining October moments are savored before fading into winter's arrival.
This is the type of release that sneaks up on the listener. Although none of the material will leave your mouth agape in wonder, the appreciation of it still grows with each playing. There is no defining style in which to pigeonhole Lee's music, so just enjoy the different roads he takes you down.
Lee, on vocals, 5-string banjo and keyboards, is backed by Andy May on guitar, mandolin and backing vocals; Dave Howard on guitar; Bill Walach on mandolin; Jim Heffernan on dobro and pedal steel guitars; and Heidi Basgall on backing vocals.