The Seldom Scene Albums (18)
What The Critics Say
In a way, it seems to make little sense to call the Seldom Scene "the Seldom Scene," because only one member -- banjoist Ben Eldridge -- is an original member; furthermore, while the band has retained certain characteristics over the last 30 years (the Dobro, for instance), there is no resemblance to the Starling/Duffey-led band of the '70s. Having said that, a name is just a name, and only worth as much as the members under its banner. In this sense, the Seldom Scene are blessed with a superb lineup, including Eldridge, Dobroist Fred Travers, guitarist Chris Eldridge, bassist Ronnie Simpkins, mandolinist Lou Reid, and guitarist Dudley Connell; they also meet the band's legacy head-on, revisiting Duffey and Ann Hill's "Don't Bother with White Satin." These guys play and sing well together, delivering charged performances of Steve Earle's "Hometown Blues" and a well-wrought version of John Fogerty's "A Hundred and Ten in the Shade." There's also a nice take on Bob Dylan's "Tomorrow Is a Long Time." These guys are professionals through and through, which means they always sound good; the flip side of this professionalism, however, is a predictable veneer that smoothes over all things emotional. The band ends the album with the joyfully old-fashioned (and sexist) "Too Bad You're No Good," and Scenechronized would have benefited from more nonsense like this (sans the sexism). Fans who loved the original lineup of the Seldom Scene may carp that much has changed, but the music is still a notch above most of the contemporary bluegrass out there. ~ Ronnie D. Lankford, Jr., All Music Guide
What The Critics Say
The Seldom Scene held a pivotal position in the early- to mid-'70s bluegrass scene. The group's bluegrass style and song choices was more progressive than Bill Monroe's but never so adventurous as the New Grass Revival. In essence, the Seldom Scene split the difference, but thanks to the group's harmony, instrumental prowess, and John Starling's and John Duffey's lead vocals, this never sounded like a watered-down compromise. Almost any songs collected from the Seldom Scene's first seven albums would have made a solid collection, so it's easy to predict that Different Roads is a winner without even listening to it. David Freeman points out in the liner notes that the collection includes three of the band's most requested songs, "Wait a Minute," "Old Train," and "Easy Ride from Good Times to the Blues," and there are great takes on Paul Craft's "Keep Me from Blowing Away" and Norman Blake's "Last Train from Poor Valley." The tracking jumbles chronological order, but since the Seldom Scene's arrangements were the same with minor exceptions during this period (1973-1976), it all flows as a piece. The album, at almost 42 minutes, is short, but it still contains 14 prime cuts from one of the best newgrass bands. Different Roads is a good introduction to the Seldom Scene in its first and arguably best configuration, a collection that will hopefully lead the listener to seek out the band's first seven albums. ~ Ronnie D. Lankford, Jr., All Music Guide
What The Critics Say
With the gradual departure of most of its original members and the sudden and untimely death of mandolinist/singer/founder John Duffey in late 1996, one might forgive the Seldom Scene if it had just given up the ghost. But instead, the sole remaining original member (banjoist Ben Eldridge) gathered some of the more recent participants around him (guitarist Dudley Connell, mandolinist Lou Reid, bassist Ronnie Simpkins, and Dobro player Fred Travers) and made one of the better Seldom Scene albums of the last 20 years. The band's reputation as a "progressive" bluegrass band remains intact, though now with a tighter focus: no synthesizers, no electric instruments. But the unusual song selections are still there, from Bruce Springsteen's "One Step Up" to Muddy Waters' "Rollin' and Tumblin'" and the Chuck Berry chestnut "Nadine." As it turns out, those are not the album's high points. Although the band's rendition of "Rollin' and Tumblin'" works very well, the Springsteen tune doesn't sit very comfortably in its arrangement, and "Nadine" is a disaster -- the banjo has to play painfully slowly to support the song's rhythm. But the Bill Monroe ("Blue and Lonesome") and Jim & Jesse ("I Will Always Be Waiting for You") numbers are standouts, and the funky bluegrass gospel of "You Better Get Right" is also superb. Maybe it's time for the Seldom Scene to go "acid grass" for good. ~ Rick Anderson, All Music Guide
What The Critics Say
In 1995 the Seldom Scene split apart and three of its members left to form the progressive bluegrass band Chesapeake. The remaining members re-formed with Dobro player Fred Travers, lead singer Dudley Connell, and bassist Ronnie Simpkins to record what would be John Duffey's last album. The album begins with the spirited "Dry Run Creek" which tips its hat toward traditional bluegrass. Connell's vocals have a more country flavor than earlier Seldom Scene vocalists like John Starling and Phil Rosenthal, and this quality helps create a more traditional effort from a band known for its progressive tendencies. Despite these changes, the band retains much of its trademark sound and a good deal of credit for this should be given to Fred Travers's excellent Dobro playing. The song choice is also solid, including an excellent version of Jean Ritchie's "Blue Diamond" and "Creedence Clearwater Revival's "Bad Moon Rising." There are lovely moments as when Duffey sings lead on "The Boatman," though it should be noted that his voice lacks the range it once had. The harmony singing on "The Little Sparrow (Fair and Tender Ladies)" even recalls the earlier sound of Duffey's first group, the Country Gentlemen. It is perhaps tempting to use such comparisons to suggest that Duffey is looking back over his long career on Dream Scene; but it would be closer to the truth to say that Duffey and the re-formed Seldom Scene are only trying to make good music. Toward that end, they have succeeded. Dream Scene is a fine effort for both old and new fans. ~ Ronnie Lankford, All Music Guide
What The Critics Say
An enjoyable gospel album, with guest Ricky Skaggs. ~ Chip Renner, All Music Guide
'Like We Used to Be'
Release Date 1/15/1994
Tracks 13
Label Sugar Hill Records
See Album Tracklist and Review
What The Critics Say
John Starling re-joined the Seldom Scene in 1994 to record an album that recalled the groups first lineup from 1971-1977 (minus bass player Tom Gray). Starling's vocals on "Grandpa Get Your Guitar" and "Almost Threw Your Love Away" carry the same solid smoothness of the early years. He also sings his share of sad songs of love lost and lives wasted as in "Like I Used to Do" and "Cheap Whiskey." the Seldom Scene have always shown a willingness to choose material from folk, country, and rock. The difference here is that the songs are quieter, drawing equally from folk and traditional bluegrass. The biggest difference though between Like We Used to Be and an earlier effort like Act 1 is that the former seems conservative in comparison, and conservative was never a word associated with the Seldom Scene. Perhaps this is due to the quieter material chosen for Like We Used to Be; but it is also due to how much bluegrass has changed because of the influence of groups like the Seldom Scene. Duffey's lead vocals also seems weaker and less resonant than on past efforts. Little of this will matter for fans of the original line-up: Starling's return after 17 years has been greatly awaited. They will hear the sweet harmony of a uniquely structured song like "Some Morning Soon" and know that it sounds a whole lot like old times. For fans of the Seldom Scene as well as fans of good bluegrass, this recording will represent a solid, pleasing effort. ~ Ronnie Lankford, All Music Guide
'Change of Scenery'
Release Date 10/18/1993
Tracks 11
Label Sugar Hill
See Album Tracklist and Review
What The Critics Say
Their vocal sound is changed here, but this is a first-class CD. Check out "West Texas Wind." ~ Chip Renner, All Music Guide
'Live at the Cellar Door'
Release Date 12/16/1992
Tracks 23
Label Rebel
See Album Tracklist and Review
What The Critics Say
The Seldom Scene made a series of landmark albums in the early- to mid-'70s that climaxed with Live at the Cellar Door, a glorious set of 23 songs from the band's broad repertoire. To those familiar with the band's earlier albums, classic pieces like "Rider," "City of New Orleans," and "Small Exception of Me" will be familiar. The initiated will also know that these songs sound just as fabulous live, and that no one would want to miss the seven-minute version of "Rider." A number of tasty items also make their debut here. Mandolinist John Duffey sings a lovely version of Dylan's "Baby Blue," while guitarist John Starling offers a sterling take of Carter Stanley's "The Fields Have Turned Brown." The band's spacious sound, with Tom Gray's ever-present bass and Mike Auldridge's ringing dobro, reproduces well in a live setting. Likewise, the Seldom Scene's trademark three-part harmony looses nothing outside of the more rarified air of the studio. The group, it should be noted, also has a keen sense of humor. The band's old-timey parody of "Hit Parade of Love" is guaranteed to offend anyone addicted to the high-pitched, whiney brand of traditional bluegrass. As if to make up for such effrontery, respectful renditions of "Georgia Rose" and "Will the Circle Be Unbroken" are also offered. Arguably, the Seldom Scene never got any better than this. Live at the Cellar Door is a progressive bluegrass classic, and sounds as fresh and alive today as it did in 1975. ~ Ronnie D. Lankford, Jr., All Music Guide
What The Critics Say
Good vocals, with covers of Eric Clapton's "Lay Down Sally" and J. J. Cale's "After Midnight." ~ Chip Renner, All Music Guide
What The Critics Say
Highlighted by a cover of Jackson Browne's "Jamaica, Say You Will" and two original inspirational numbers, At the Scene is a typically impressive effort by the Seldom Scene that emphasizes their considerable instrumental and vocal skills. ~ Thom Owens, All Music Guide
