FOOT TO THE PATH

Uncle Dirtytoes may be an unusually named band, but their music is fairly conventional American folk rock with obvious debts to both contemporary European and traditional folk, and which reveals a depth of knowledge of those genres its members have acquired over a lifetime of academic, personal and musical study. Despite the nucleus of the group being together since the eighties, this is their only proper studio album that I'm aware of.

The sounds here call to mind many British folk rock bands of the seventies and eighties including Spriguns, Dulcimer, Heron, Loudest Whisper and of course the requisite Fairport Convention and Steeleye Span. The instrumentation is typical folk fare featuring guitar, violin, flute and various acoustic percussion gadgets along with accordion and the occasional nod to slightly more contemporary folk rock in the form of tabla, electric guitars and some keyboards (mostly piano). Violin and flute are quite prominent throughout, with little jigs and reels thrown in on tracks like the traditional "Geordie", "Salberta the Jumping Dog" and the jaunty "Mother England", while on some of the original tunes like "Question of Time" and "Boys of Bedlam" the band reminds listeners of the 'rock' basis for their music by employing lively electric guitar passages.

And speaking of the compositions themselves, there is a mix of traditional and original tunes here, although at times it can be a bit difficult to tell the difference based solely on the music itself since the group employs traditional themes and arrangements that are well known to any student of folk music. "Geordie" and of course "John Barleycorn" are both familiar traditional songs given slightly new treatments here, but the opening "Searching for Reynardine" and the pastoral "A Long Time From Home" are steeped in traditional themes and sounds and could easily pass for classic covers to anyone who didn't know any better.

The one somewhat unusual and noteworthy track here is the longer "Tianamen Square" with its wailing electric guitar solos, strident tempo, and contemporary theme which combine for a powerful offering that may itself become a folk standard someday.

In all this is a very pleasant and tastefully delivered album from a band whose members mostly make their living doing things other than performing music. They still appear on stage at local gatherings in their native Lawrence, Kansas even today (the town that also gave us the legendary Kansas violinist Robby Steinhardt), but as near as I can tell this is mostly a part-time calling and there is little indication the group will ever record another studio album. Singer/flautist Maria Anthony recorded an album of Jethro Tull covers a while back that I keep meaning to check out, and several members have appeared in other local groups and on tour with artists ranging from Leo Kottke to Marshall Crenshaw to Steppenwolf. While I can't say this is a very progressive album, nor does it bring much new to the folk rock table, it is quite good and worth a listen for fans of the genre, especially those who favor American folk music inspired by its progenitors. A solid three stars out of five, and recommended to folk rockers everywhere.

peace