Three bluegrass ’busses in one day. (You wait for ages and three come at once). The first a brand new CD by Matt Flinner, the second a performance given by Czech combo Monogram at Mavis and Jack’s Hobo’s Retreat Country Music Club in Heywood; and the third? The first, ‘hot off the press’ recordings of J.K.’s reconstituted band SilverHill.

I walked into Decoy Records in Manchester, only to be told that the ‘best bluegrass album the world had ever known’ had just come in. I bought it, (they knew I would); and took off for home for a listen. The album was Matt Flinner’s: The View From Here. I get back to my cabin on the hill (I can dream, can’t I), and lo! I’m out of time if I’m going to make the Monogram gig...

Am I glad I did make it... Someone wrote that when God picks the music that plays at the gates of Heaven, he’ll pick The Cox Family. Frankly, I’m so unlikely to find myself in that situation that I don’t give it a lot of thought. But if I do make it, if Monogram are playing the queues I’ll be a happy little angel.

Shut your eyes and these guys are the genuine article. Mr.P, (Eric Pollitt), was purring; which tells you everything you need to know. But, know why these guys sound like the Genuine Article? Not because they imitate American Bands - you know, like in ‘Stars in Their Eyes’ where the contestants are copies? Not this bunch. Many of the songs are originals, penned by the mandolin player. He’s written a couple of sizzling tunes too: not obvious, simple tunes, oh no. Here is all the complexity of, yes, Flinner; and a sense of style that reminded me of Scott Nygaard. I don’t mean they were doing out and out jazz tunes. They weren’t. They fused styles, if anything. No. It’s the arrangements. Some are deliciously subtle, all are played with sensitivity and feeling. But the delivery is as tight as, well... (name your own poison).

Individually, the group can’t be faulted. Every one of them is an excellent player; the guitarist - threatening to be a bit of a prima-donna, worryingly - could cut the mustard with any, and I mean any bunch of bluegrass / roots musos on the planet. Together they were just awesome. Average age of 21, someone told me. Unbelievable. If you knew they were on and didn’t trouble yourself to go, I’m really, really sorry to tell you that this was the business. When they sing 4 part gospel, 4 to a mic, with a simple strumming guitar accompaniment... Swing low, sweet chariot? I’m ready!

I went home and thought about burning my guitar. But then I thought, ‘it’s not your fault’ and kicked the cat instead.

Time to put on Matt Flinner. And, by the left, the boys at Decoy got that right. If this is not the best bluegrass album of 98, then I’d love someone to send it to me. Not a song in sight, here. Just (did I say just?) Flinner’s wonderful collection of tunes called The View From Here. He’s got a hell of a band behind him, I admit. David Grier is in top form. Top. And if Todd Phillips ain’t the best bass payer around (not to mention producer), I’ll eat my old tube of Fast Fret. Jerry Douglas is here too. Sheer class, wall to wall.

I played it over and over again. It gets better and better. I liked it so much that I got hold of Matt via his record company’s web site. He was due to play at folk festivals in Shetland. I wanted to see if I could persuade him to come down here. So’s I could try to persuade you lot to come and see them. But it couldn’t be done. However, give them a couple of festivals (minimum) and they’ll be here in 99. Help? (What price Flinner, Grier and Phillips in ‘99? I’m in touch with Frank Wakefield too, if anyone’s interested... )

You just have to buy this album. You will be dazzled. You’ll be challenged, maybe. But you’ll love it. I thought: ‘this is great’. Good things come in threes, right? Spot on. And in some ways, I’ve kept the best for the last...

Anyone who read my piece ‘Bill’s Back’ will have gathered that I was a big, big fan of Silver Hill String Band. Their demise was widely mourned at the time of their split, and the sudden death of John T. (Williamson), coupled with no little rancour amongst the surviving band members, suggested that the game was up for SHSB. But, they’re back. Write tos from J.K., which have long since been signed “From J.K., Superstar - retired”, now have the epithet “unretired” added to them.

SilverHill can play most British bluegrass players off the stage with Bill Hyde’s unique banjo technique, J.K.’s metronomical timing and good taste, and Pete Simmon’s thumping, authoritative bass. As if this embarrassment of riches was not enough, however, they have one further weapon in their arsenal which will surely see them re-established as one of Britain’s best bands.

Songs. Original material. J.K.’s crop of new songs, which I was privileged to record at a rehearsal session at Swallow’s Barn, are quite simply wonderful. I’ve a number of friends who class themselves ‘roots music’ fans, but many of them eschew the opportunity if investigating British Bluegrass because the lyrics - log cabins, little white churches, Blue Ridge mountains - seem pretty irrelevant to them. So they miss out on the sheer musicianship that lurks around most every pick that’s put on.

But J.K.’s songs are real, relevant and essentially now. And the arrangements are steeped in bluegrass technique and virtuosity. They will appeal to the folkies as much as the grassers and the country types. Divisions will tumble when this work gets known...

His latest crop of songs represent a catharsis for J.K., in my opinion. Few people have suffered the kind of hurt he has been forced to endure, and his pain runs like his blood through these songs. Coming Over To You reflects the author’s returning confidence: “I’ve been wrong in the past / But I’ve got the future in mind”.

Voice of a Stranger sums up his aspirations: “I want wealth, but I don’t need money / I want freedom, but I need fame”. Putting the past firmly behind him, one line delivered with acerbity approaching venom, tells us: “I don’t know where I’m going but I ain’t going back again”.

Other songs deal with modern issues. White Sand is an elegiac, mournful appreciation of drug culture; Never Hold Your Love Back On Me is a eulogy to partner Linda Simonian. But don’t think for a minute that ole J.K. has had a sense of humour by-pass. We’re Back is their new, toe tapping opening number and Bill’s wonderful Roch Valley Way (pronounced “roach” and named for the local river) is as good a new instrumental as I’ve heard in a long time.

SilverHill is not the finished article - yet - but a core of personnel has been established, the songs are excellent, and the future holds much promise for the band and all of us who are close enough to take the trip with them as they find out just how far they can go.

If we all get behind them, there are no limits to what this band can achieve. Not so far as I can see.

So you see, it’s true: good things do come in threes. Let’s hope we don’t have to wait three years for the next pack of three, so to speak.

Ian Reynolds, Blackley, Manchester

Updated 23rd Jan 1999