Brandon Knox

Forget the bad ones. Many of the good ones -- and they are real good ones -- make up the lion's share of Heirloom, the debut CD by Old Stone Revue, one of Winston-Salem's most engaging groups. Blevins, who plays acoustic guitar, is one the quintet's three singers and songwriters, the others being Brandon Knox, who also plays harmonica, and electric guitarist Chris Lord. Bassist John Holder and drummer Adam Moses round out the band.

Blevins said that the band formed on New Year's Day, 2006. The various players, singers and songwriters had informally met some time before, and they had discovered common artistic and musical ground. "We decided that we would meet New Year's Day at a certain place, and whoever showed up would be the band," Blevins said. "It sounds crazy, but I just believed it would be right.

"They showed up, and we had a band."

Bass players and drummers came and went, but Blevins, Knox and Lord coalesced into a solid creative core, with Blevins' more reflective and gentle material offsetting Knox's grittier voice and more rollicking sensibilities. The band's harmony-laden music is contagious, good-time fare, smartly written and performed with a pronounced rustic edge that recalls elements of the Dirt Band, Pure Prairie League or, in an odd coincidence, Blue Rodeo, a popular Canadian roots band that Blevins has never heard.

The band's sound reflects the salt-of-the-earth vibe exuded by the band members, all of whom are happy and comfortable in what they do. Nothing sounds forced, nothing seems contrived. It's good songs played by good people.

Heirloom was recorded at Ovation Sound, one of Winston-Salem's best new studios. The disc was produced by Bill Stevens, who had nothing but praise for the band's professionalism, abilities and positive approach to making music

"Old Stone was probably the most prepared band we have had come in," Stevens said. "They had the songs down when they arrived, but they were open to the creativity that comes when you are recording songs that have been perfected playing clubs. They didn't want to reproduce the live show so much as to make a record of how these songs could sound in the studio."

- Relish

BAND OF THE YEAR: Old Stone Revue puts a fresh spin on the Americana vibe. The band's debut album, Heirloom, is a beautiful piece of work, comfortable and lived in, thanks to the fine work of Joe Blevins and Brandon Knox, the band's two singers and songwriters. It's a good-time band, as comfortable as a fond memory, as potent as a case of warm beer.

- Relish

taking a listen
By Ryan Snyder


FIVE GALLON GROOVE — Five Gallon Groove

After more than a year in the making, the debut album for Sam Robinson’s Five Gallon Groove is finally available and it’s been well worth the wait. Though it’s a bit abbreviated at eight tracks, the star-studded, self-titled disc is a tour of Southern rock, jazz and blues through the sweltering guitar of one of Winston-Salem’s most unsung talents.

The album opens with a heavy dose of Cajun-spiced mouth harp by Mike Wesolowski on “I Got It Right,” a consummate blues-tinged lyrical boast by former Old Stone Revue-er Brandon Knox. Knox has reason for his buoyancy, particularly with this cast of rock luminaries playing behind him. Lynyrd Skynyrd drummer Artimus Pyle lays down a cool rock rhythm alongside a heady groove by Allman Brothers Band bassist Oteil Burbridge, but it’s the lead trading by Robinson and Burbridge brother Kofi that brings a similar spirit to this track that’s found on the recent Booker T. release Potato Hole. Robinson wear’s his Allman influence on his sleeve on the electric intro to the spirited “Soaking Up the Rain,” where he also pulls acoustic double-duty. Gospel beat maker Calvin Napper sits in the drum chair here and ups the pace considerably alongside percussionist Rusty Good, but it’s the multi-talented

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grooverobinsonfivegallonitsalbumrockknoxKofi Burbridge that stands out with his stirring flute, piano and Hammond B3 additions. Robinson shows his stylistic versatility on “Memoria,” a highly emotive instrumental ballad that gradually picks up in aggression, moving from a sense of subtle melancholy to fiery belligerence. The album is consistent in its influences, but there are a few curves thrown. “Liquor Store” is the first of those, where Robinson assumes lead vocals and with a mischievous tenor, parlays hard-living overtop Andrew Lazare’s bouncy bass groove with his mischievous tenor, but it’s the appearance of rapper Willis where the album takes its greatest risk. Though he molds his contribution to the album’s bluesy format, the verses might have made more sense with a larger lyrical share rather than a simple guest spot. Robinson downshifts back into his traditional blues influences with “Crazy Woman Blues,” as Knox bemoans his hard-partying relation to the kindred spirit of Robinson’s mournful wail. Five Gallon Groove spins into Widespread Panic and Outformation territory with the made-for-jamming “Guess You Won’t” and “Solid Ground.” Robinson packs the licks into every empty space while producer Bill Stevens’ punchy organ provides a perfectly unobtrusive counterpoint. There’s a lot to hear in such a short release, but for a debut effort Robinson has indeed set the bar high.

80/100

- Yes Weekly

Wednesday, December 31,2008
10 best records of '08
By Jordan Green



10 best records of ‘08

Lucinda Williams — Little Honey (Lost Highway)

I’ve been a fan of Lucinda Williams since my college days, and never was there a purer exponent of American blues, honky-tonk, folk and poetry. She’s let me down before with her ruminations on pain and addiction, but with Little Honey she throws everything in her stylistic repertoire onto the canvas, and loosens up, besides. “Jailhouse Tears, ” Exhibit A in Williams’ honky-tonk songbag, is as hard bitten as anything George Jones or Dimebag Darrell Abbott ever conceived. “Little Rock Star,” another stellar track, begins with a spare, acoustic meditation on tortured artistry, and then explodes in a shimmering radial of indie splendor.

Drive-By Truckers — Brighter Than Creation’s Dark (New West Records)


The Drive-By Truckers, like my favorite band of all time the Grateful Dead, has created an expansive vision of American music that thrives on multiple voices, joyous riffs ripped from the past and recharged with the band’s own ornery brilliance, loud rock and roll and generous spirits. Brighter Than Creation’s Dark recalls some of the thematic cohesion and sprawling glory of 2001’s Southern Rock Opera, but the songs are all new. “You and Your Crystal Meth” is Lynyrd Skynyrd’s “That Smell,” but more barren and frank. “Self Destructive Zones” is punk rock and redneck, full of both camaraderie and jaded disappointment, rocking like Neil Young & Crazy Horse, and proof that the best music still comes from the hinterland — in this case, northern Alabama.

Saul Williams — The Inevitable Rise and Liberation of Niggy Tardust (selfreleased)


With the help of industrial pioneer Trent Reznor and a host of other producer-performers, New York City slam poet Saul Williams achieves a feat of fusion on the order of Prince while dropping a concept album every bit complete as the album its title spoofs created by David Bowie. Though I’m loathe to applaud covers, in Williams’ hands U2’s “Sunday Bloody Sunday” is transformed from a Celtic-rock anthem into a piece of terse funk. And alterego Niggy Tardust is cool, ineffable and ironic: “Sing along when Niggy sings. Without you he’d be worthless, homeless, earthless… freak show hear him speak so, because every word is mentioned against meaning, probably scheming to unlearn us. Don’t you call him by his name, white people — call him Curtis

The Nondenoms — Persistent (Devil’s Lake Recordings)


At first blush, the Nondenoms might seem like an improbability, an afterthought, but in hindsight they come out on the top of the heap of the minor Greensboro punk-rock insurrection. Start with short, well-crafted and hooky songs, then add a badass female bass player who puts musicianship before sex appeal, a buzz-saw guitar and a relentless drumming styled ripped from the annals of Rush. The record’s pacing and attitude is nasty, vindictive, always spirited. Starting with “Deadly at Any Speed,” a song about getting the hell out of this dead-end town, Persistent grabs your throat and doesn’t let go.

Ty Bru — On the Brink


A young rhymer from Asheboro, proudly wearing his Ap State colors, Ty Bru serves a reminder that the original brilliance of hip hop was its ability to speak truth to power from the trenches of individual struggle.

I do wish the mercenary crunk of “ASHEBORO” wasn’t included, but otherwise this album largely triumphs, with inventive production values that don’t crowd the lyric. The a capella intro says everything On the Brink needs to convey: “Wonderin’ why we got monsters shootin’ up the Amish, a constant battle of the conscious, reality skewed, one-hundred percent of the population feelin’ used, resort to drugs, alcohol, prostitute, Wal-Mart for the heart, more and more fast food. We goin’ down fast, dude. ADD, bipolar, can’t be based on they last mood. It does sound convincing: Cars drive by with the booming system. Still no positive lines to listen. We don’t have to claim religions: Muslim, Catholic or Christian. Just share your vision, use your heart for your wisdom…. So, I do different, make sure I write songs when my night’s long, always have my mic on, but y’all just fight wrong. Use Scarface to base your life on?”

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rockwilliamspartlittledownmusicrippedsongsCavalera Conspiracy — Inflikted (Roadrunner Records)


The brothers Cavalera and their fellow travelers in thrash, Mark Rizzo and Joe Duplantier, throw down an unremitting regime of brutality on this disk. The titles betray little subtlety: “Terrorize,” “Ultra-Violent, “Bloodbrawl,” “Hearts of Darkness” and “Must Kill.” So why do I like this? Simple, at least as much as any exemplar of metal who trod the path of war, Cavalera Conspiracy makes music that is visceral, physical, cathartic and brimming with instrumental virtuosity.

Old Stone Revue — Heirloom (selfreleased)


Ragged and worn, ripped from the pulsing heart of bruised life, Old Stone Revue has been working out its idiom for some time now. Part of what they do is jazz-touched, Sam Bush-style finger picking, part is ensemble rock and roll in the spirit of the Band, part is pure gospel feeling, and part is songwriter’s songwriting.

Produced by Bill Stevens of the Solos Unit, the elements come together in bracing clarity. The musicianship is fine, the songs are strong, and otherwise generalities fail to describe what’s going on with this band. “Man In Black,” “Smaller Every Day” and “Long Ago” are standouts.

Bruce Piephoff — The Chestnut Tree (Flyin’ Coud Records)


A humane misfit of high order, Bruce Piephoff chronicles the marginal and beat characters of his native Greensboro with near religiosity. As usual, the troubadour teases out the native talent, from David “Driveway” Moore blowing harp on “Count No Count’s Nightmare #36” to Sam Frazier picking a delicate and moving lead guitar on “Orbit Bath,” but perhaps none merges more seamlessly than Filthybird’s Renee Mendoza, harmonizing with Piephoff on the opening track, “Notes From Knoxville,” which takes stock from lives lived at the precipice: “Another year lived in exile/ God bless our loved ones, each and every one/ Sooner or later, they’ll give up on us/ Walk where we walk, or take the bus.”

David Byrne and Brian Eno — Everything That Happens Will Happen Today (selfreleased)


David Byrne and Brian Eno’s first collaboration since the release of My Life in the Bush of Ghosts in 1981, Everything showcases the adventurous spirit of two great artists working the obscure and delightful corners of voice and sound. The music is relaxed and comforting, which is somewhat counterintuitive for an album that is essentially traditional sounding vocals wedded to electronica instrumentals. Eno calls it “something like electronic gospel,” which sounds fair enough.

Horse Feathers — House With No Name (Kill Rock Stars)


Melancholy, indie-folk chamber music, Portland, Ore.’s Horse Feathers takes me to another place. The three band members play trumpet, piano, cello, celeste, zither, violin, viola, banjo, mandolin, autoharp, saw, lap steel and electric guitar between. House With No Name invokes dead leaves and autumnal solitude for me.

- Yes Weekly

Tuesday, May 22,2007
Old Stone Revue makes commission
By Jordan Green


"I think people are getting tired of things that you can't relate to," Joe Blevins of the Old Stone Revue is saying as he relaxes around a table on the patio with his fellow band members before their Tuesday night gig at the Clubhouse. "[Our music is] tangible. It's things that are in your kitchen, instead of things that are in your limo."

Just now the opening act, a solo guy armed with an acoustic guitar and an earnest voice, lights into a Cat Stevens cover. The conversation at the table naturally turns to Stevens' Muslim name, which no one can remember, and the fact that he ended up on a no-fly list and barred from entering the United States.

"The guy who wrote 'Peace Train,'" Blevins exclaims.

"Times have changed my friend," says bass player Josh Tench."

"I hear you," says the disgruntled Blevins. "I'm ready to become an Islamic militant."

It's a joke, by the way, but one that provides a window into the man's perspective on the world, which is by turns bleak and humane - grounded in both hard-won satisfactions and keenly appreciated losses.

Although a couple members live in Greensboro and still others live in the crossroads communities of Kernersville and Belews Creek, the Old Stone Revue didn't play in the Gate City for a good while, taking refuge in Winston-Salem's more supportive and more close-knit club scene instead.

Winston-Salem has traditionally been more kind to bands that write their own songs and draw from the American folk-country wellspring of Doc Watson, Johnny Cash and Gram Parsons than has karaoke and dance music-crazy Greensboro, but the Old Stone Revue is starting to see an opening, getting gigs lined up at the Clubhouse, the Rhinoceros Club and the Blind Tiger.

Chris Lord, who plays electric guitar, estimates that the band has three or four albums worth of material written. They recorded once but the results were a bit uneven and then their sound evolved with a line-up change, so they scrapped the project. Maybe they'll try again.

In the meantime, they're playing out as much as they can. The guys talk a lot about writers - Vonnegut, Hesse, Hawkings, Anthony Burgess - among themselves, and about politics when it doesn't get them too pissed off with each other. Blevins admits that such preoccupations don't always lend themselves to a stage presence that encourages bar patrons to buy drinks. Maybe that's not as important as it once was. Maybe the human jukeboxes, empty party-hearty platitudes and lightweight vehicles of escapism are losing their iron grip on Greensboro. Maybe.

They don't go in for a lot of showmanship, this band.

"Hey y'all, we're the Old Stone Revue," Blevins says by way of introduction once they've got their levels right. "We're gonna play some tunes."

With Blevins playing acoustic guitar and Brandon Knox blowing harmonica, the band possesses a warm and worn organic sound despite Tench's spare attack on electric bass and Adam Moses' powerful drumming. Lord's lead guitar playing gradually emerges from the woodwork in a latticework of twang. He plays in discrete couplets, more befitting a honky-tonk band than a rock-and-roll outfit. The showcase instrument is clearly the harmonica.

Blevins and Knox share vocal duties, with Tench occasionally contributing fine harmony. Blevins' voice is a throaty growl while Knox possesses a soulful instrument redolent of the Southern highlands.

A regular named Robert Leonard sways in the center of the dance floor and grimaces. At the end of a frenzied cover of the Band's "The Shape I'm In," Leonard pumps his fist. A huddle of jocks off to one side laughs, and one of them tips his hat at the intrepid mover.

Then there's the young woman at the bar with brown curls and a black miniskirt, a recent transplant from New York. She judges that the band's music sounds "sexy," and before long she's on the dance floor too, barefooted and spinning round with a friend.

The band moves through lots of original material, including Blevins' tender and rocking "Man In Black," in which he sings, "The whiskey tastes like ashes and the room is closing in, but I'll drink it 'til it's empty and I fall asleep again."

Near the end of the set Lord puts down his guitar and joins Blevins, Knox and Tench for an a capella gospel number. Lord's mic breaks like a thunderclap. Blevins holds his stomach and Knox folds his hands behind his back.

The crowd back at the bar looks on with stunned rapture as the guys sing, "Sinner, you better get down on your knees and pray."

Then they switch gears and tear up the Gram Parsons country-rock classic, "Ooh Las Vegas."

Well, I spend all night with the dealer tryin' to get ahead/ Spend all day at the Holiday Inn, trying to get out of bed

The soundman has pronounced the Old Stone Revue his favorite band of the moment. Owner Art Jefferis lets it be known that he's also pleased, and says he might try to pair Old Stone with the Mantras, a popular Greensboro blues-rock band with psychedelic inflections.

After the crowd clears out Jefferis confers at the bar with the band.

"We made some scratch tonight," Blevins says. "Enough to cover everybody's gas."

"How bout beer?" the bar owner asks.

"I don't know," Blevins says. "I was doing a lot of Jager-bombs."

Then they get serious.

"I'm looking for a good fit for you," Jefferis says. "The other band brings their crowd. You bring your crowd. Put it together."

Blevins nods.

"I appreciate you being a building block for bands," he says. "I know you're trying to make money. I appreciate the foresight."

To comment on this story, e-mail Jordan Green at jordan@yesweekly.com.
- Yes Weekly

The Carter Brothers and the Deluge at the Blind Tiger
By Ryan Snyder


The Carter Brothers serve up a tasty set list at the Blind Tiger. (photo by Ryan Snyder)



Who locks all the doors to a venue 10 minutes into the show and splits? Call it a little bit of divine intervention, I suppose. What was supposed to be a review of the great gypsy jazz master John Jorgenson playing at the Presbyterian Church of the Covenant took a sanctified right turn into a different kind of house of worship: namely, the Blind Tiger to see the great Carter Brothers testify before a decidedly less pious group.

Tim and Danny Reid Carter’s reputation as terrific individual live acts certainly precedes them, but when performing together, it can be a thing of beauty. As string men, Danny is a heavyweight Southern rock guitarist and Tim assumes an entirely new personality every time he switches from banjo to mandolin to acoustic guitar, but it’s their set lists that demand equal praise. On top of their originals like “Road to Roosky” that span the distances between Celtic rock, folk and swamp rock, their cover selections shine a brighter light on their influences. Their affection for country rock bleeds through in their versions of the Byrds’ “Mr. Spaceman” and Peter Rowan’s “Moonlight Midnight,” while appreciation for great songwriters manifests itself in twangy renditions of John Hiatt’s “Cry Love.” They don’t talk about it much, but their Carter Family upbringing has ensconced traditional gospel tunes into their catalog, and in this case, “Don’t You Hear Jerusalem Moan?” got their electric treatment.

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delugeintogreatrockbrothersblindtigershowAs inexplicable as providence can be, there was another band on the bill whose performance would demand an earnest second look. That band was Greensboro’s own the Deluge, whose name only begins to describe what the six-piece is capable of on stage. Their brand of keyed up jamgrass has just enough of the rousing, old-timey sound to trick the traditionalists into thinking they aren’t throwing decorum to the wind by attending a show.

While it takes some bands years to perfect their sound, the Deluge seems to have hit the sweet spot within their first year of existence. While few acts of their ilk have a dedicated vocalist — though to his credit, Knox does play a roaring harmonica — the arrangement seems to allow the Deluge to stretch out and flex their instrumental muscle with greater ease. Knox does his thing and almost like clockwork, he steps back and allows guitarist Shane Lee or mandolin player James Bernabe to lead the attack while bassist John Holder walks a subtle groove and Josh Tench holds the rhythm on banjo and drums. They’re all gifted players who lend their own ingredients to this bubbling Appalachian stew, no doubt, but it’s Lee that most often dropped jaws with his wickedly nimble fingers.

Many might remember vocalist Brandon Knox and guitarist Chris Lord from the similarly countrified, though now defunct Old Stone Revue. While OSR built a faithful following in their time, the Deluge have a chance to reach far beyond the local sphere. They wear their extramusical chemistry in the form of huge grins throughout the show, with all six players stepping up at various intervals as integral cog in the band’s output. Their recent album Cryin’ On the Vine sounds great, but their real impact is made on stage.

- Yes Weekly

-----Original Message-----
From: Sarah Burrill
Sent: Tuesday, June 15, 2010 10:02 AM
To: Mike @ Sam Hill Entertainment
Subject: Re: The Deluge

Mike,

The Deluge was excellent and we had a great time! Everyone told us how great the band was. Thanks for connecting us with them.

Sarah

From: Beth Corbin
Sent: Monday, August 03, 2009 12:19 PM
To: Andy @ Sam Hill Entertainment
Subject: Re: Old Stone Revue

Hi Andy- I was gonna drop you a note- the band was AWESOME! Loved every minute of it! They were great and will recommend them to everyone. People liked them so much they sat at the tables and watched all night. ;)

Thanks a lot!
Beth

Hey Charlie,

The band was great, thanks for helping me out on such short notice. I'll be sure to keep in touch this semester next time there is a party going on.

Thanks a lot,

Tom



- Sam Hill Entertainment

The Deluge was exceptional! Everyone loved these guys. They were incredibly professional. I forgot to mention just how Dam Good they were!! They were just incredible. -- Brice O, Winston Salem, NC, 4/25/2009


"They were polite and friendly. Everyone who attended our event was impressed with the music. They are very talented and we enjoyed them immensely. They are the kind of band that I want in my ipod!!"
- David B., Shelby, NC (Jun 11, 2010)

We were so pleased to have the Deluge play for our wedding reception. They maintain a bluegrass edge while keeping things contemporary so that everyone can enjoy. We got so many compliments on our band selection. Thanks so much for adding to our celebration. -- Danielle D, Salisbury, NC, 10/17/2009


The Deluge were the perfect choice for entertainment at our event. From the first phone call to the last handshake, they were professional & courteous. Read the corporate crowd to a "t". An event planner's dream. -- Maggie W, High Point, NC, 4/28/2009


Everyone was asking WHERE did I find this band? It was great to be able to find and book them last minute as my brothers and sisters arrived in town to set up the party and we feel so lucky to have such great local talent. Thank you!! Leslie Bolick -- Leslie B, Burlington, NC, 5/14/2009

The Guys were Great. Well received by all members. Will have again in the future. -- Brett C, Greensboro, NC, 6/28/2008

They were great! Very personable and very talented. I would definitely book them again and recommend them to others. -- Judy R, Pinnacle, NC, 6/7/2008

Our guests loved them! They set a very fun tone for our wedding reception. -- Greta Z, Beaufort, NC, 9/6/2008

The Deluge was wonderful! All of my guest loved them and were asking who they were. Most of all, my husband thought they were awesome. Thanks for a great evening! -- Kristel A, Raleigh, NC, 8/15/2009


Absolutely wonderful group! I highly recommend these guys! They played an assortment (as I requested) and everyone enjoyed! -- Sue S, Vinton, VA, 9/10/2009

they were great and it was a hard to please older crowd, and as an event planner i will use them again -- Roma S, Chapel Hill, NC, 8/2/2008

Mixed group of senior citizens to 1.5 years. All thoroughly enjoyed. Excellent selections, well presented, and tight. Enjoyed by all but perhaps most by the children 1.5 year and 3.5 years. The Deluge connected with guests. Icing on the cake for a beautiful Saturday evening party. -- Carol B, Raleigh, NC, 4/18/2009

These guys were great. They arrived early and stayed late. They were very accommodating and flexible, willing to play while wandering through a house that didn't have a great setup for music. I would highly recommend them. My only regret is that I spent too much time talking with friends rather than listening to their music. -- Chip S, Chapel Hill, NC, 10/30/2009

Everyone from our guest to the staff at The General Morgan Inn commented on how great the band was!!! Thanks again! -- Allison M, Greeneville, TN, 9/26/2009

The Deluge were wonderful. They were very flexible too when it turned out that it rained on our wedding day and we had to move everything in doors. All our guests highly complimented their performance. -- Katie A, Asheville, NC, 9/20/2009

This group exceeded our expectations. -- Richard S, Greensboro, NC, 3/29/2009

The band was great. They can really play and the music was a ton of fun to dance to. They showed up on time and catored to our every request. I can highly recomend them to anyone. Thank you to the Deluge for making our wedding reception great. -- Theron G, Hanover, VA, 10/11/2009
.


- Gigmasters

Published: 12:57 PM, 09/02/2010
Last updated: 1:00 PM, 09/02/2010

by Ashley Wilson

The days are getting cooler in the High Country, a perfect time for a drive in the mountain countryside or perhaps the parkway. The Deluge's Cryin' on the Vine is an excellent end-of-summer soundtrack for the ride.

The Deluge formed in 2008 in the North Carolina Piedmont. In their debut effort, the six-piece group shows no evidence of freshman musicianship. Cryin' on the Vine is true Carolina soul.

The Deluge play an updated version of the mountain-style music so familiar to the state. Though there's a mandolin in the band, don't expect a bluegrass or country album. Listening to Cryin' on the Vine is mellow like sweet southern tea, a bluesy album with an extra squeeze of Americana lemon spark. Vine is approachable material for fans of country music to jam bands to southern rock.

The Deluge is comparable to country music's biggest act at the moment, the Zac Brown Band, in that they benefit from a musical hybrid approachable to fans of differing styles. Also like ZBB, The Deluge employ a rich vocal harmony, with most of the members providing background to the lead often. Despite the similarities, The Deluge surpass the vocals and musicianship of ZBB by miles. The Deluge are much more interesting.

Brandon Knox's voice is a meeting of John Popper of Blues Traveler and Eddie Vedder. He has incredible range, going from the lowest of lows to sweet-as-candy highs. Knox is the singer, but he's not always the main man in the show. While bass, guitar, drum and mandolin meld beautifully on the Vine, the musicians step up for numerous opportunities at the forefront of the presentation. Their playing is just as expressive as the vocals and lyrics. Additional musical color is added to Vine, with The Deluge bringing in other instruments as they see necessary, including banjo, organ and harmonica among others.

The cuts on Vine range from sing-a-longs to laid-back jams to ballads. Aside from exceptional singing and musicianship, the vivid lyricism put forth by The Deluge make them worth listening.

One of album's the best songs, the Depression-era ballad "Union" speaks of the Carolina hills and Franklin's New Deal. The Deluge do the seemingly impossible with this song, creating a nostalgic view for a time as dim as the Depression.

Knox sings "Last September" with such conviction and incredible imagery, leaving the impression it could only be about his own broken relationship. The band balances out dark subject manner with upbeat and sunnier songs, like the silly "Hits Keep Comin.'"

Other stand-out songs include "Ridin' with the Devil," with a speed and chorus that would make it a perfect fit for Sunday-morning gospel hour. "Inside Pocket" exemplifies the variety of influences The Deluge draw from, containing sounds of "Sexy Sadie" and "Sweet Melissa."

Cryin' on the Vine is an ideal example of a tasteful mixing of styles. This vigorous album will appeal to any person who enjoys blues, bluegrass, rock & roll or country. Whether driving to a favorite vacation spot, cooking out or just kicking back, The Deluge's Cryin' on the Vine will make an excellent background for whatever is to be done over the upcoming Labor Day weekend.
The Deluge is online at TheDelugeMusic.com. The group will perform at Canyons in Blowing Rock on Friday, Sept. 3.

- The Mountain Times