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ALISON KRAUSS AND UNION STATION...
Alison Krauss, at the age of 33, has achieved more career milestones than most people do in their lifetime. To date, she has earned 17 Grammy Awards, multiple Country Music Association Awards and International Bluegrass Music Awards and countless others. Alison is also recognized as an acclaimed record producer (Nickel Creek, The Cox Family) and has contributed as an instrumentalist or vocalist on albums of every genre-classical, jazz, pop, country, bluegrass and even polka.
The members of Union Station are: Dan Tyminski, acoustic guitar, lead and harmony vocalist for Union Station, is one of the most dynamic and talented performers to appear on the bluegrass scene in years. Dan gained national recognition as the singing voice of George Clooney in the motion picture O Brother, Where Art Thou?, winning a Grammy award, CMA Single of the Year, and three International Bluegrass Awards for the effort.
Jerry Douglas, one of the world's best dobro players, has won nine Grammy Awards and numerous International Bluegrass Music Association awards. LIFE Magazine named him one of the ten best country musicians of all time. In 2004 Jerry was honored with one of the National Heritage Awards.
Ron Block has been the spiritual touchstone of AKUS, contributing not only sterling musicianship on banjo and guitar, but also a catalog of beautiful songs that deal mostly with issue of religious faith and devotion. Frequently in demand in the studio on guitar and banjo, Ron has recorded with Susan Ashton, Vince Gill, The Cox Family, Clint Black, Brad Paisley, Dolly Parton, and many others.
Barry Bales has become one of the most in demand session players in bluegrass and acoustic music. He has recorded and performed with such artists as Reba McEntire, Susan Ashton, Merle Haggard, Ronnie Bowman, The Cox Family, Vince Gill, Dolly Parton, Dan Tyminski, Fernando Ortega and many others.
With the release of Lonely Runs Both Ways, Alison Krauss and Union Station continue their journey on a musical terrain entirely of their own making. Over the course of such classic albums as Every Time You Say Goodbye (1992), Now That I've Found You: A Collection (1995), So Long, So Wrong (1997), Forget About It (1999) and New Favorite (2001), the world-renowned band has steadily enriched their bluegrass roots with infusions of country, rock, pop, and soul influences. Instead of merely tingeing the results, these myriad sources have gradually coalesced into a new genre, one completely unique to Alison Krauss and Union Station. Lonely Runs Both Ways is the most developed of this refreshing hybrid. Neither bluegrass, nor country, folk, or adult contemporary - though elements of each are detectable - Lonely Runs Both Ways is simply the pure, undiluted sound of Alison Krauss and Union Station.
Alison Krauss and Union Station are indisputably acoustic music's most esteemed ambassadors. Recent triumphs have included Krauss's performance at the 2004 Academy Awards (where she sang an unprecedented two nominated songs), the astounding sales of Union Station's 2002 Live album (approaching double-platinum), and a steady stream of Grammy® Awards in a diverse array of categories, including three in 2003 alone, making Krauss the most decorated female artist in the award's history. Whatever the venue, the rich, evolving music of Alison Krauss and Union Station continues to impress, delight, and move audiences from all walks of life.
Despite the unyielding momentum of their current success, Lonely Runs Both Ways finds the band "pretty much doing what we've always done," in the words of the group's multi-instrumentalist and songwriter Ron Block. "We find songs we like and then record them in the way that best showcases each song. Making a recording is a long, winding process; parts of it are creative, free, and enjoyable, and other parts of it are hard work." An active touring and promotional schedule has taken the already-powerful ensemble to a new level, as the band delivers Lonely's fifteen tracks with a resonance that makes even the most nimble passages sound effortless and natural.
While Krauss's evocative vocals and understated fiddle playing are never far from the spotlight, Union Station remains a remarkably democratic partnership of equals. Each member's contributions are woven into the intricate fabric of the arrangements, as are the harmonies of Krauss, Dan Tyminski, Barry Bales and Ron Block. Instrumentally, Block (banjo, guitar) and Tyminski (mandolin, guitar) are hard-driving and delicate in turn, supporting each song with the perfect mix of momentum and grace. Bassist Barry Bales provides the steady heartbeat that is the harmonic and rhythmic foundation of the band. The Dobro of acknowledged master Jerry Douglas guides and sculpts the soundscape, smoothing transitional sections with impeccable runs and swells.
Lonely Runs Both Ways compliments Union Station's unmatched instrumental ability with an exquisitely chosen set of songs. As the band continues to grow and mature, redefining itself, selecting material becomes ever more of a challenge. Here Krauss's touch is unparalleled: she has uncovered a cache of elegant, artful compositions that are lush and evocative, yet grounded in the fundamental themes of loss and regret so well-echoed by the plaintive sound of fiddle, banjo, and Dobro. "While Alison finds most of the songs," says Block, "we all listen to each one, give our opinions, and then begin playing through the song several times. The arrangement takes shape as we play through the song each time; ideas are offered, tried, and discarded or kept."
This collaborative process gives Lonely Runs Both Ways a natural coherence despite the diverse range of songs. The first single, "Restless," is one of four from the pen of the Nashville-based songwriter R.L. Castleman. Composer of Krauss's previous singles "The Lucky One," "Let Me Touch You for a While" and "Forget About It," Castleman's unflinching yet sensitive songs seem tailor-made for Union Station. "His tunes are so incredibly unpredictable," says Krauss. "Yet they're so catchy you think you know them already. You're singing along with a song by the second time around, but it's a brand new melody and something you've never heard before." His "Crazy as Me" brings out one of Krauss's best vocals yet, a gently escalating performance that ends each chorus with a note of astonishing purity.
Ron Block, Union Station's resident songwriter, provides another of Krauss's most affecting moments with his devotional closing song, "A Living Prayer." "When it comes to what makes for a good Union Station song," Block reflects, "lyrical content is crucial; the lyrics can't sound contrived. They have to be real. Beyond that, the chord structure and melody have to be engaging - memorable without being annoyingly catchy." In addition to "A Living Prayer," Block also contributes the resolute "I Don't Have To Live This Way," on which he delivers a confident yet restrained lead vocal.
Dan Tyminski's urgent, earthy tenor is featured as the lead voice on three of Lonely's tracks, in addition to meshing seamlessly with Krauss in trademark harmonies throughout. Acknowledging the band's roots in classic bluegrass, Del McCoury's "Rain Please Go Away" gets an unapologetically straightforward reading. Woody Guthrie's timeless "Pastures of Plenty" unfolds slowly, setting Tyminski's plaintive vocal against an open, sparse arrangement. Bassist Bales in particular shines on this track, his choices coloring the harmony in intriguing ways and contributing much to the song's drama. Tyminski's final lead vocal is on a rare Alison Krauss original, "This Sad Song," which was written with former Union Station banjoist Alison Brown during the early stages of the band. "We used to play 'This Sad Song' in concert," explains Block, "but haven't for years. We recently performed it at the IBMA Awards, along with 'Restless,' and the response was very positive."
While his fluid Dobro playing and unassailable musical intelligence are heard throughout Lonely Runs Both Ways, Jerry Douglas takes center stage on the self-penned "Unionhouse Branch," a brisk instrumental marked by intricate unison passages flawlessly executed. "Wouldn't Be So Bad" opens with a gentle, haunting figure from Douglas, which establishes an appropriately wistful mood for Gillian Welch and David Rawlings' gently reflective ballad. Also featured on the track is drummer Larry Atamanuik, who appears on four other songs. Acclaimed as the world's foremost drummer in an acoustic setting, Atamanuik is a vital addition to Union Station's sound. His assured brushwork adds texture and shading, while locking in with Bales at the band's rhythmic core.
At the center of it all, Alison Krauss remains an artist who transcends styles and boundaries, challenging herself in every arena. Her voice has never sounded more pristine or commanding; while on fiddle and viola she colors each song, providing everything from hard-driving double-stops to entire overdubbed string sections. The quality of the choices she has made are reflected in the aching beauty and depth of Lonely Runs Both Ways. "It's the Alison Krauss and Union Station recording with the most feeling, so far," Block summarizes. "That's a big plus in my book, since it's nearly the entire reason for making a record in the first place."
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CLICK ON MEMBERS PHOTO FOR BIOGRAPHY.
Information from www.AlisonKrauss.com
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