|
Here's what some people are saying about Rod Moag's Recordings.
Reviews for Remember Me: Bill Malone and Rod Moag Play the Music of the Bailes Brothers
Bill Malone & Rod Moag
Remember Me (Hillbilly Dreams)
While Austin's
Rod Moag is known as the "the singin', pickin' professor," Bill Malone
is renowned as a historian of American country music, having written
what's considered the definitive book on the subject, Country Music, U.S.A.
Despite different backgrounds, the two retirees share many things in
common, including a deep love for country music of the post-World War II
era. They possess a particular fondness for the Bailes Brothers, a
significant presence on the Louisiana Hayride broadcasts from
Shreveport. History has relegated them a minor status compared to such
contemporaries as Hank Williams and Roy Acuff, but the Bailes' music, a
deceptively simple and emotionally direct blend of hillbilly and gospel,
maintains its influence, and Remember Me finds Malone and Moag
paying them tribute in a way that exudes respect and understanding.
Their vocal duets are a little rough, but that adds to the disc's charm;
technical proficiency might ruin the music's sincerity. Top players
like Lloyd Maines, Cindy Cashdollar, Justin Trevino, and Nashville's Tim
O'Brien bring just the right amount of understanding without
overwhelming. In an interesting coup, Remember Me also contains
"The Songbirds Are Singing in Heaven Tonight," sung by Homer Bailes,
the last surviving brother, making the disc required listening for fans
of traditional country.
Jim Caligiuri, 3 Stars, The Austin Chronicle
New & Noteworthy in The Journal of Country Music, Issue 24.3
Short Takes
by Martha Hume
Bill Malone & Rod Moag
Remember Me: Bill Malone and Rod Moag Play the Music of the Bailes Brothers
The songs themselves are the stars in this most enjoyable
tribute to the four-brother, close-harmony, singer-songwriter group the
Bailes Brothers. One of the most popular acts in the South in the 1940s,
they were heard over Nashville's WSM and Shreveport's KWKH. While the
brothers performed in every combination from solo to quartet, they were
best known for the passionate and emotional duets between Walter and
Johnnie Bailes, backed by Evy Lou Thomas on bass and vocals, Ernest
Ferguson on mandolin, and Harold "Shot" Jackson on steel. Here, country
music scholar Bill C. Malone (Country Music U.S.A.) and Rod
Moag, a performer and retired professor of South Asian languages, known
as "The Pickin' Singin' Professor," stick to duets, playing guitar and
mandolin, respectively. They swap lead and tenor vocals and are backed
by fine musicians, including Lloyd Maines and Cindy Cashdollar.
As singers, Malone and Moag do a more than
competent job on nineteen Bailes classics, including "Dust on the
Bible," "Whiskey Is the Devil (in Liquid Form)," "Give Mother My Crown,"
and the title song, written by Scott Wiseman and re-popularized on
Willie Nelson's Red Headed Stranger album. The most moving song
on this compilation, however, is "The Songbirds Are Singing in Heaven
Tonight," sung by the Rev. Homer Bailes, the last surviving brother; the
song was recorded at Bailes's home in Louisiana with Ernest Ferguson,
now eighty-seven years old, on mandolin. As Malone points out in his
liner notes, the Bailes Brothers' music reflected the emotional
conflicts and upheavals of their rural audience, which, during the
height of the Baileses' career, was moving en masse from
country to city and into the modern era. This CD preserves and
celebrates the spirit of the unforgettable music, and, it is to be
hoped, will help it live for some time to come.
The Journal of Country Music is the Magazine of the Country Music Hall of Fame and Museum in Nashville
Reviews for A Salute to the Heroes of Texas Swing
What Reviewers and Deejays say about A Salute to the Heroes of Texas Swing:
"… the Governor of Texas should require a
copy in every Texan's home. … such a work of art, I love this CD so much
… living proof of the Texas contribution to America's Music."
(Dugg Collins, KFDI-AM 1070 The Ranch, Wichita, KS)
"There's a level of musicianship on all
these tracks that's nothing short of astonishing, with players that
range in age from their 20s up through their 80s." … "Calling these
folks 'heroes' is not overstating the case."
(Austin Chronicle, May 9, 2003)
" … this remarkable project … enlisted an amazing number of amazing players…"
(3rd Coast Music-cover story December, 2002)
"… a very ambitious project … a who's who of Texas Swing."
(Western Swing Monthly December 2002)
"Listening to these … classics, you'd swear you had leaped back half a century or more."
(Texas Highways, March, 2003)
"Still giving you lots of air play and you are still the number one album. It is so popular with my listeners."
(Mike Gross, "Swingin' West," WVOF-FM Fairfield, CT)
"This album (comes) with an incredible
booklet loaded with pictures and facts by Western Swing's number one
historian, Kevin Coffey … "
(
Pedal Steel Guitar, April 2003.)
Jump Back to Top of Page
Reviews for Come and Dine
Bluegrass Unlimited, September 2002
Rod Moag & Texas Grass - Come And Dine - TexTrax Records
TT002D. As a follow up to his highly acclaimed bluegrass
salute to western swing pioneer, Bob Wills (see BU April 2001), Rod Moag and his band, Texas Grass, have
created an emotional collection of 13 original and classic gospel
songs. Billing himself as "The Pickin' Singin' Professor," Rod
handles most of the lead vocals & trades off on several instruments
including mandolin, guitar, and resonator guitar. This
particular collection has been dedicated to the memory of
Rod's mother, and his composition, "Mama Never Complained," is
clearly autobiographical in its content. Other impressive entries
include the band's rendition of the title song, "Beautiful Isle Of
Somewhere," Rod's own "True Witness," and "I Know Who Holds Tomorrow,"
featuring duet with Shirley Smith. As a special treat, the final
track contains a hidden a capella version of the title song.
Throughout "Come And Dine," there is a relaxed homespun feeling that still
manages to sparkle with excitement. For anyone who enjoys Rod
Moag's unique brand of Texas-style bluegrass, this is one
compact disc that should not be passed up. (Rod Moag, 6909 Miranda
Dr., Austin TX 78752.)
Jump Back to Top of Page
Reviews for Ah-Haa Goes Grass
Bluegrass Unlimited, April 2001
Rod Moag's a college professor at the University at Austin,
Texas, and also a pretty fair picker and singer who, along with his
band, Texas A La Moag, has created a blending of bluegrass, classic
country and western swing. His latest recording project is a bluegrass
tribute to the king of western swing, the late Bob Wills. To assist in
the effort, he has amassed a multitude of distinguished musicians
including Byron Berline (fiddle), Alan Munde (banjo), Mike Auldridge
(resonator guitar), Russell Moore (vocals), and others too numerous to
mention. Of special note is the appearance of Bob Wills' niece Dayna on
lead and harmony vocals. The 13 selections clearly illustrate the
incredible versatility of the Bob Wills musical repertoire, and feature,
as expected, many Wills' standards like "San Antonio Rose," "Roly
Poly," "Faded Love," and "Hang Your Head In Shame." There are also
lesser-known gems like "Tater Pie," "I Had A Little Mule," and "No
Disappointment In Heaven" which prove to be extremely tantalizing when
presented in a bluegrass mode. The accompanying booklet provides a
wealth of information about the songs and participating musicians. No
matter whether you are a bluegrass fan or student of western swing,
Ah-Haa Goes Grass imparts an abundance of exhilarating listening
pleasure that dissolves the boundaries that have separated two truly
unique styles of American
music.
-
Les McIntyre
SPBGMA's Bluegrass Music News, March 10, 2001
Rod Moag had a dream. That dream was to record a tribute
to his musical idol, the late Bob Wills. Fortunately for
us, his dream was to record these songs with bluegrass
instruments. Rod's dream became a reality with the release
of Ah Haa! Goes Grass. Just in case you have
forgotten, or never heard the great recordings of Bob
Wills and His Texas Playboys, "Ah Haa!" was one of Mr.
Wills' trademarks, and was included on many of his recordings.
Rod has brought together some master musicians for this
project, and their performances here are inspired and awesome.
Some folks may remember Rod Moag when he was a member of "The Bluegrass Hoppers," a group located at the University
of Missouri in Columbia. Rod is now a professor at the
University of Texas in Austin, and he also performs
bluegrass, classic country and western swing with his
band,
Texas A La Moag.
The only member of the Wills family still involved in
music is Bob's niece, Dayla. This is her first recording
with bluegrass instruments, although she has performed
rock, blues and recorded three western swing albums. After
hearing Dayla's fabulous voice, all I can say is, "Hey
Dayla. Give us more!"
There are many things to enjoy on this recording. Some of
the things that excited me were the absolute perfect harmony
singing on San Antonio Rose, the lovely banjo/mandolin
western swing duet on Hang Your Head In Shame and
the "tongue-twisting" song, Tater Pie, written by
Cindy Walker. Rod and Russell Moore make it through the song
with no problem at all.
Rod Moag sings lead and harmony with a delightful rustic
touch that makes you realize this is the real thing. Rod sings
lead and harmony and also plays several instruments. This
dude has talent!!!! The Convict and the Rose was my
personal favorite. Dayla's lead vocal and Rod's harmony were
just perfect.
This is a wonderful recording and should be heard by every
fan of bluegrass and western swing music. You will find these
two musical styles work quite well together. The extensive
liner notes alone are worth the purchase price of the CD.
- Frank Overstreet, SPBGMA's Bluegrass Music News
Bluegrass Now, March 2001
The idea is simple enough: play Bob Wills music with bluegrass
instrumentation. Rod Moag, a DJ for both traditional country
and bluegrass radio shows in his hometown of Austin, TX, calls
upon many lifetime friendships to help this project become a
reality. Guests include household bluegrass names such as Byron
Berline, Alan Munde, Mike Auldridge and Russell Moore, who join
Wills bandmate Johnny Gimble and fiddler Buddy Spicher, who
actually recorded with both Wills and Bill Monroe.
The grooves are pure grass, even on the slow tunes, with a
prominent mandolin chop and banjo. The disc is filled with
many unique musical moments, such as a western-sounding twin
mandolin break followed by a bluegrass-style slap bass solo.
The vocals have a western-bent for which Moag's voice is
well-suited. The higher octane tunes, such as Roly Poly and Will You Miss Me When I'm Gone, were my personal
favorites.
The superb extensive liner notes cover everything from a listing
of the personnel on each track to a bio of each of the many guest
performers. For those who are looking for a way to bring their
western-swinging friends to bluegrass, Ah-Haa! Goes Grass may prove to be just the ticket.
Third Coast Music, January 2001
Caught between a rock and a hard place here. One the one hand,
I'm deeply suspicious of tribute albums in general, and Bob Wills
tributes in particular. Even if they're not, as the best know
rather clearly seem, opportunistic, the artistically bankrupt
riding the coattails of a far greater talent, there doesn't seem
a whole lot of point to them when actual Bob Wills albums are
available. On the other hand, I know Rod Moag to be pure of
heart, and certainly not trying to revive a flagging career.
Also, the Singin' & Pickin' Professor is coming at his
project from a different angle, and enlisted musicians who
actually played with Wills. Like Moag himself, who plays
guitar, fiddle, mandolin and dobro, most of the players
straddle Western Swing, country & bluegrass, so this album's
certain to fail the Bluegrass Nazi purity test, thank God.
The featured Wills veterans are fiddlers Johnny Gimble and
Buddy Spicher and drummer Johnny Cuviello, along with Bob's
niece, singer Dayna Wills, and the all-star cast includes
Byron Berline, Mike Auldridge, Cindy Cashdollar, Alan Munde,
Gurf Morlix (who coproduced with Moag), Billy Contreras, Paul
Glasse, Jake jenkins, Don Keeling, Don McCalister, Jr., Mark
Rubin and Tom Swatzell, so a whole mess of dobros, mandolins and
banjos alongside the fiddles and upright basses. The 13 tracks
include some standards (San Antonio Rose, Faded Love, Roly
Poly, etc.), but Moag set out to pick numbers that lent
themselves to bluegrass, or at least quasi-bluegrass, treatment,
along the way coming across the mid-50s So Long, I'll See You
Again which, for Wills, featured a banjo solo. The combination
of marvellous playing with Moag's engaging personality and
drive puts this up with Haggard and The Pine Valley Cosmonauts
near the top of the 100 Best Bob Wills Tribute Albums.
Austin Chronicle, February 2, 2001
The obvious question, right off the bat: Why do an album of Bob
Wills music in bluegrass? In fact, Moag himself asks this question
(and answers it) in the liner notes, with an explanation just as
detailed as you'd expect from a UT professor. The answer, in part,
is the obvious similarities between the two forms; bluegrass, like
jazz, depends heavily on virtuosic soloing, and so does Western
swing, actually a form of jazz. The less obvious question: Why
these songs? Moag leads off predictably enough with "San Antonio
Rose" and "Faded Love," but then goes into less obvious titles like
"Will You Miss Me When I'm Gone" and "Tater Pie." The answer again
ties into Moag's professorship. As anyone who listens to the best
radio show in Austin -- Moag's Country, Swing, and Rockabilly
Jamboree Thursday mornings on KOOP 91.7FM -- knows, Moag's
encyclopedic knowledge of classic C&W; won't let him settle for the
merely obvious when he can reach into such a deep well. But finally,
the necessary question: How well does he execute? Pretty damn fine.
A fair-to-middlin' vocalist, passable enough in a genre where picking
is really the name of the game, he shores up the singing with fine
guest spots from Bob's niece Dayna Wills. In addition to Moag's fine
guitar, dobro, fiddle, and mandolin playing, he rounds up a National
Honor Society of string players: Byron Berline, Johnny Gimble, Alan
Munde, Cindy Cashdollar, Tom Swatzell, Paul Glasse, and Don Keeling
(among others), all names that will make knowledgeable roots music
fans gasp in awe. Okay, that's all the questions. Moag passes, with
honors.
***1/2
Click
here to see the review on the Chronicle's website.
Jump Back to Top of Page
|
