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Paul Williams & the Victory Trio have chalked up a number of impressive albums for Rebel over the last several years. If one comes to I'll Be No Stranger There expecting Williams and company to have altered their approach in the name of progress, they're more than likely to be disappointed. If, on the other hand, one expects the same rock-solid gospel harmony, well-wrought musicianship, and unshakable Christian values, the album will represent another fine accomplishment. Mandolinist Williams, guitarist Jeff Orr, banjoist Jerry Keys, fiddler Keith Williams, bassist Susie Keys, and guitarist Ned Cutshaw stick to the straight and narrow on all of these songs, from the title track that opens the album to "Light at the River" that closes it. Each song, highlighted by three-part harmony, tells the story of repentance ("The Journey"), hope ("There's Always a Light (In the Church)"), and the next life ("I'll Be No Stranger There"). The group even takes time out to combine religion and patriotism on "That's What Hero's Do." The only complaint one might have against I'll Be No Stranger There is that Williams & the Victory Trio equals four people, when six actually play on many cuts. Mathematics, however, has little to do with the actual quality of the music. ~ Ronnie D. Lankford, Jr.
Liner Note Author: Paul Williams .
Recording information: Tom T. & Dixie's, Franklin, TN.
Photographer: Bugess Hurd.
Arranger: Paul Williams .
Personnel: Ned Cutshaw (guitar); Paul Williams (mandolin); Keith Williams (fiddle).
Audio Mixer: Paula Wolak.
I'll Be No Stranger There Music Paul Williams I'll Be No Stranger There Songs I'll Be No Stranger There Music Review Purchase I'll Be No Stranger There CD To buy, Click on price to add to cart | Paul Bluegrass Gospe Williams Old Ways & Old Paths CD (2000)
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| | Victory Trio Living On The Hallelujah Side CD (2003)
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Paul Williams got his start playing mandolin with the Lonesome Pine Fiddlers and Jimmy Martin over 50 years ago. After retiring from professional music in 1963, he continued playing gospel music regionally. In the late 1990s, however, Williams' career got a jump start when he released a series of well-received albums. Living on the Hallelujah Side follows the same footpath, featuring a combination of traditional gospel singing and bluegrass picking. Williams is joined by rhythm guitarist Jeff Orr, banjoist Jerry Keys, guitarist Ned Cutshaw, fiddler Keith Williams, and bassist Susie Keys for a handful of old and new gospel songs. The straightforward arrangements offer just the right support for the material and help keep the spotlight on the vocals. Williams, Orr, and Cutshaw specialize in two- and three-part harmony, filling songs like "Whispering Hope" and the title cut with a "joyful noise." While Williams and company never deviate from the righteous ...
| | Paul Williams When The Morning Comes CD (2005)
I'll Be No Stranger There album
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Singer/mandolinist Paul Williams and the Victory Trio know that, by MTV standards, their brand of bluegrass-gospel is a little old-fashioned. Far from being apologetic, however, they proudly serve as one of the last bastions of good old-fashioned Christian values. These values include a born-again philosophy, clearly evident in the titles of songs like "In Heaven She'll Live On and On" and "Are You Washed in the Blood." These values, like older country music, also embrace the simplicity of a rural lifestyle, highlighted by family, friends, and community. From a musical ...
| | Paul Williams Where No One Stands Alone CD (2007)
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Paul Williams & the Victory Trio (Mandolin): Rodney Worley (baritone); Kelly McCord (guitar); Kevin Bowen (banjo); Paul Williams (mandolin); Matt Wallace (acoustic bass).
In traditions like Southern gospel, change comes slowly if at all, and to its hardcore fans, this is a good thing. There is little likelihood, for instance, that one will notice any stylistic differences between Paul Williams & the Victory Trio's 2007 album, Where No One Stands Alone, and one recorded years previously. The same template -- bluegrass-styled arrangements, lyrics immersed in Christian theology, and fine three-part (and occasionally four-part) harmony -- creates a familiar Southern gospel sound. Each new Williams album, then, ...
| | Swingin' To The Grateful Dead CD (1999)
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Also available with PICKIN' ON THE GRATEFUL DEAD VOL. 1 and PICKIN' ON THE GRATEFUL DEAD VOL. 2 as a 3 CD-set LONG STRANGE TRIP: SWINGIN' AND PICKIN' ON THE GRATEFUL DEAD on CMH (1791).
A bizarre outgrowth of the martini craze and the fedora craze -- themselves unfortunate tangents of the cocktail nation craze -- the swing music fad that crested in the mid- to late '90s was responsible for Big Bad Voodoo Daddy's 15 minutes, as well as an upswing in bookings for the Brian Setzer Orchestra. Vitamin Records' Swingin' to the Grateful Dead was apparently released to capitalize on this short-lived kick. Sporting zoot-suited, finger-popping skeletons on the cover and words like "jumpin'," "jitter," and swing on the back, the collection includes 12 instrumental versions of Grateful Dead songs, performed in numerous jazz-based styles. But for a subject with so much potential material, producer Steve Marsh and arranger Jim McMillan's choices are curiously lacking in melody, making some of the inclusions here unmemorable. The big band productions of "Touch of Grey and "Friend of the Devil" suggest Lawrence Welk, while "Eyes of the World" and "Cumberland Blues" are reminiscent ...
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| | Ditchflowers Carried Away CD (2007)
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“One of the best releases you’ll hear in 2007.” - NotLame.comDipping into The Ditchflowers' new CD, Carried Away, is like wandering into a rambling curiosity shop and stumbling out 45 minutes later wondering where the time went. In the tradition of mid to late period Beatles albums, Carried Away embraces eclecticism in its finest sense. From art-pop to rootsy romps to contemplative folk mini-epics, this timeless collection of songs surprises and delights at every stylistic turn. Try “Home Away From Home” (Track 2), a mood-shifting funhouse of tuneful hooks and existential angst; “Boys” (Track 8), a sweetly elegaic, McCartney-esque ode to the joys and trials of a lifelong friendship; “My Next Life” (Track 1), the album’s “exquisite jangle-pop opener” (Creative Loafing); or bask in the sweeping ...
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