Like Nickel Creek and the Duhks (and Alison Krauss and Union Station before them), Crooked Still employ bluegrass elements as a springboard for an eclectic, expansive dynamic. Behind the sweetly ethereal and occasionally j... more »azzy vocals of Aoife O' Donovan, the interplay of Gregory Liszt's banjo, Rushad Eggleston's cello (both bowed and flatpicked), and Corey DiMario's double bass gives the young New England band a sound that is closer to chamber-grass than hoedown. Though none of the material on this label debut is original, the transformations typically are, with the murder balladry of "Little Sadie" given a surprisingly sprightly reading, Bob Dylan's early "Oxford Town" taken at double-time speed, and Robert Johnson's "Come On in My Kitchen" sounding more meditative than bluesy. The band and veteran producer Lee Townsend enlist a number of guests for harmony and instrumental support, but it's plain that the drummerless quartet has the talent and musical vision to deliver on this album's considerable promise. --Don McLeese« less
Like Nickel Creek and the Duhks (and Alison Krauss and Union Station before them), Crooked Still employ bluegrass elements as a springboard for an eclectic, expansive dynamic. Behind the sweetly ethereal and occasionally jazzy vocals of Aoife O' Donovan, the interplay of Gregory Liszt's banjo, Rushad Eggleston's cello (both bowed and flatpicked), and Corey DiMario's double bass gives the young New England band a sound that is closer to chamber-grass than hoedown. Though none of the material on this label debut is original, the transformations typically are, with the murder balladry of "Little Sadie" given a surprisingly sprightly reading, Bob Dylan's early "Oxford Town" taken at double-time speed, and Robert Johnson's "Come On in My Kitchen" sounding more meditative than bluesy. The band and veteran producer Lee Townsend enlist a number of guests for harmony and instrumental support, but it's plain that the drummerless quartet has the talent and musical vision to deliver on this album's considerable promise. --Don McLeese
"I originally became interested in Crooked Still when I heard Aoife sing on a Wayfaring Strangers' album. I like this album better than their first, Hop High, primarily because this time the instruments do not overpower Aoife's voice. The songs are drawn from diverse sources (primarily bluegrass, but a Shaker hymn and a blues classic also appear), the musicianship is impressive both technically and interpretively, and Aoife sings the songs beautifully. I bought two copies of the album before the official release date and have since bought an additional 6 copies for friends and family. The play length is about 39 minutes. The lyrics are not included with the album, but when I asked about this, Crooked Still said they are redesigning their website. When this is completed, the lyrics will be available on their site. There were only a couple of isolated words that I could not understand, so this is not a big issue."
Good sophmore effort
Craig Fisher | USA | 09/17/2006
(4 out of 5 stars)
"If you're checking out the reviews for Crooked Still you either already know what a great outfit these folks are or maybe you're poking around based on word-of-mouth. Regardless, they ably follow-up their amazing debut album (Hop High) with another collection of bluegrassy traditional songs and cover tunes on Shaken By a Low Sound. Again, the Still bring it to effect. Standout tracks include an upbeat version of the Dylan gem Oxford Town which comfortably segues into the classic Cumberland Gap, Ain't No Grave which gets the train song treatment, and an airy take on Wind and Rain. The album really is a good all-around listen; however, (and here are my reservations) it lacks a certain quality that made their debut such a fabulous disc; first, gone is the prominent spacey, hypnotic feel that made it sound that something heavy was going down in the studio that day. Additionally, maybe it's the production/arrangements (Robert Johnson's Come On In My Kitchen) or song choice (didn't the great Boston folkie Kris Delmhorst just record a cover of Ain't No Grave?), but it doesn't quite hold the attention as well as Hop High either. I was also hoping for a batch of original songs as well, but I recognize, in obviousness, that this was not the intent here. Like I said, it really is a nice little disc in spite of these trifling issues, and it would be a shame if you overlooked Shaken By a Low Sound for them as Crooked Still are diamonds in the rough of a too often vapid music scene. Looking forward to seeing 'em on tour!"
The Madman of the Cello!
1969mets | New York, NY | 02/26/2007
(5 out of 5 stars)
"This record is fine...wonderful, in fact. The band (a cello-bass-banjo power trio!) combines a profound understanding of the "trad" repertoire with hot chops and a hot chick singer with a breathy-but-tasteful delivery. BUT GO SEE THIS BAND LIVE!! I have just returned from Wintergrass and feel safe in saying that I have seen the future (of something or other) and his name is Rushad Eggleston, virtuoso madman. Rushad is evolving into a major force and, in addition his magical cello, he has--for lack of a better word--a schtick you have to see to believe. He is the Jimi-Django of this fabulous aggregation. GO SEE HIM BEFORE HE EXPLODES. Holy, holy bejesus!"
USA Today Review - August 29, 2006
spanky | New York, NY | 08/30/2006
(5 out of 5 stars)
"Country: Crooked Still, Shaken by a Low Sound (* * * 1/2)
O'Donovan -- Aoife O'Donovan. Remember that name, because with a sultry voice that makes her sound like a bluesier Alison Krauss, she's about to become the newest darling of the Americana set. Also like Krauss, O'Donovan's four-piece neo-folk outfit (which includes banjoist Gregory Liszt from Bruce Springsteen's Seeger Sessions Band) creates refreshing rearrangements of familiar tunes. Grounded by double bass and cello, the year's most descriptively titled album turns public-domain tunes into bluegrass and chamber folk. With those, plus thrillingly original takes on Bill Monroe's Can't You Hear Me Callin' and Robert Johnson's Come On in My Kitchen, Shaken is stirring. -- Mansfield
"
Solid follow-up to "Hop High", but with a muted edge
C. R. Anderson | Blacksburg, VA | 05/09/2007
(4 out of 5 stars)
"So, what do you get when you combine a lead singer with an airy, sultry, velvety smooth voice, a rocking double bass, a banjo player that actually earned his Ph.D. from MIT, and a cellist that's totally bonkers? You get Crooked Still, a band who's unique style of bluegrass music is turning heads wherever they play. I had the fortune of stumbling across these guys at Merlefest and I was hooked from the first song. Their style of music is generally referred to as "Alternative Bluegrass"; basically, they take a traditional song, break it down, and then add their own unique rhythm and melody. These guys take a _very_ creative approach to bluegrass/American folk music (for example, flat-picking a cello), and if your listening habits tend towards the more traditional approach, this may not be the band for you. As good as they are, I'm hoping at some point they will start creating some original material. Also, as many have noted, their second album "Shaken by a low sound" lacks the freshness and edge of both their first album and the live performances of the songs on the album--though that may reflect the influence of the label rather than a conscious decision by the band. Bottom line: if you can only purchase one Crooked Still album, get the first one, "Hop High". If you get a chance to see this band live, do so. You won't be disappointed."