Larry Keel Albums (6)
'Larry Keel, Curtis Burch and the Experience'
Release Date 1/1/2000
Tracks 14
Label Little King
See Album Tracklist and Review
'The Larry Keel Experience'
Release Date 1/1/2000
Tracks 13
Label Little King
See Album Tracklist and Review
What The Critics Say
The Larry Keel Experience has long consisted of vocalist/guitarist Larry Keel and bassist/vocalist Jenny Keel. For this outing they are joined by mandolinist/vocalist Jason Krekel and banjoist Will Lee, giving this album fuller arrangements than on their previous effort, The Sound. Due to the expanded Larry Keel Experience, this recording is more eclectic than its predecessor. Bob Marley's "Hammer" is given a lovely, spare treatment that is both respectful and original, and the reggae banjo shouldn't be missed. Songs like this, and "Corn Liquor," offer a mellow atmosphere with lots of space for relaxed jams. Other standouts include the choppy, driven "Culpeper Woodchuck," with a gruff and fun vocal from Larry Keel. Keel has written fewer songs/instrumentals than on the previous two albums; fortunately, though, the song "Tombstones" and the instrumental "Lonely" are up to his usual high standard. More traditional material is also covered on this album, including a wonderful "Polly Vaughn" sung by Jenny Keel, whose vocal delivery captures the tragedy of this song perfectly. Her harmony vocals are also a nice addition to other songs. Jason Krekel offers a nice vocal on Riley Puckett's "I'm Gettin' Ready to Go." The only song that seems uncharacteristic is the band's punk-acoustic assault on John Hartford's "All Fall Down." While this album isn't necessarily better than 1999's The Sound, it does find the band exploring new material, adding different vocal combinations, and offering the same explosive acoustic music fans have come to expect. This is a fine entry to the group's catalog. ~ Ronnie Lankford, Jr., All Music Guide
What The Critics Say
The Larry Keel Experience's second album finds the group hitting its stride on a number of songs and instrumentals. The group consists of vocalist/guitarist Larry Keel, bassist Jenny Keel, and mandolin player Christen Hubbard. The Larry Keel Experience is an instrumental powerhouse. Even on material that includes vocals, generous room is left to allow Larry Keel and Hubbard a chance to jam. The title cut, "The Sound," is a quick-paced instrumental, full of incredible lead work, while "Cincinnati Rag" shows just how much flatpicking has in common with ragtime. Other standouts include an untitled instrumental, kicked off by cascading guitar fills, and brought to fullness by a laid-back guitar/mandolin jam. The Sound is closer to progressive bluegrass than traditional music, featuring lead work reminiscent of the David Grisman Quintet or the Tony Rice Unit. Keel is known for his flatpicking skills, and while his single-note playing is extremely fast, he utilizes chords and unusual phrasing to maintain a distinctive style. Hubbard, whose mandolin playing is full of original phrasings even while playing at break-neck speed, proves a perfect jamming partner. There are also a number of good songs like "Buffalo Creek," a song about the power of a river filled by a storm. Larry Keel handles most of the vocals, with his gruff, down-to-earth delivery. His songwriting is also unique, as in the case of "Teach's Wrath," a song about the notorious North Carolina pirate Blackbeard. The Sound is an excellent follow-up to the Larry Keel Experience's debut, more tightly focused and full of good acoustic music. ~ Ronnie D. Lankford, Jr., All Music Guide
'Miles and Miles'
Release Date 11/30/1999
Tracks 12
Label Larry Keel Records
See Album Tracklist and Review
What The Critics Say
The Larry Keel Experience's first album Miles and Miles includes guest appearances by a number of friends to help get things off the ground. The core group consists of vocalist/guitarist Larry Keel, bassist Jenny Keel, and mandolin player Christen Hubbard. The title cut kicks the album off, a wonderful original by Larry Keel featuring guests the Acoustic Syndicate. The energy of this song continues for seven minutes, with lots of room left for instrumental workouts. Perhaps because of the large cast of performers, Miles and Miles proves eclectic. Both Duke Ellington's "Caravan" and Fats Waller's "Honey Suckle Rose" are covered, with fitting vocals by Liz Riddick and Caroline Pond, respectively. Larry Keel has written five of the tracks, including an affecting "Old Man Kelsey's" and the 12-minute instrumental, "Trance." Keel's rough-hewn vocals and laid-back delivery prove just right for songs like "Mars's Cry." The instrumental virtuosity of all involved cannot be overstated. On "The World's Waiting for a Sunrise," Jason Krekel -- who would become more involved on the group's third album -- joins the band for a jazzy instrumental. Here, the band plays with the same finesse and energy of the Tony Rice Unit, pushing ahead with confidence and style. Another interesting aspect of the Larry Keel Experience's instrumental work is that the band never seems as though they're showing off. On a short rendition of the "Star Trek" theme, they even show that they know how to have a good time (and don't miss a very short version of "Legalize It" on the hidden track). The Larry Keel Experience's debut delivers great acoustic music, and stands as a forerunner of promising things to come. ~ Ronnie Lankford, Jr., All Music Guide
What The Critics Say
Between the late '90s and 2000, Larry Keel and a number of friends cut a series of well-made progressive acoustic albums featuring his gruff vocals and fancy flat picking. These albums had the same loose, freewheeling mindset as the best of '70s newgrass, commingling jazz, folk, and even reggae to create a heady mix. Larry Keel and Natural Bridge brings forth the same instrumental flair while leaving behind the more experimental elements of Keel's earlier work. That means most of the eclectic elements have been submerged in favor of fairly straightforward bluegrass. Keel is joined by bassist Jenny Keel, banjoist Andy Thorn, and mandolinist Mark Schimick on 14 traditional-based songs and instrumentals. Energy-wise, Larry Keel and Natural Bridge is much more exciting and better produced than a number of current bluegrass albums by bands with higher profiles. Part of the energy comes from the sparkling instrumental leads and fills, plus the band's off-the-cuff vocal style. But perhaps more important is the fact that the production never attempts to concoct a smooth, radio-friendly sound. Fans of Keel's former albums may find Larry Keel and Natural Bridge fairly conservative and predictable, but anyone who has grown sick of cookie-cutter bluegrass will find the album a lively affair. ~ Ronnie D. Lankford, Jr., All Music Guide
