Posted by Maurice Hope on June 19, 2011 at 6:00pm 
Eliza Lynn Together

What a wonderful record this is —it is acoustic and pure as virgin snow. Both instrumentally as guitar, banjo, lap steel, Dobro, mandolin, fiddle and harmony vocals escort the plaintive, folk country blues fashioned tones of Eliza Lynn. On occasions her tones resemble those of Sarah Elizabeth Campbell only Lynn’s are more varied.

Lynn lists the recently deceased blues man John Cephas as her mentor and she is doing a wonderful job in keeping organically cultivated acoustic music alive. I would go as far as to say her voice and the songs that come from among others; Dougie MacLean, Doc Watson, Bill Morrissey, Tia Sillers - Mark D Saunders, Van Morrison, Ketch Secor - Willie Wilson, Maia Sharp - Kim Richey, James Cleveland plus old, traditional chestnut ‘Shenandoah’ are as near a perfect combination as you could wish for! So rich in texture is the music on the record. So effortless it seems too.

For highlights that is difficult since they are all wonderful. From the fiddle (Rayna Gellert; Uncle Earl and Abigail Washburn) and dobro (Will Straughan) plied ‘Ellen’s Tune’ and jaunty folk country blues ‘Life Is Like A River’ and with it done in an engaging, rambling fashion akin to writer Watson’s style it slides along on greased wheels. So splendid is her version it could only be matched in fluidity by the likes of Doc and Norman Blake. While there is the spare, harmony fashioned gospel blues a cappella gem ‘Sit Down Servant’ that recalls times of old in lyric and playing. Then of a sombre, reflective tone ‘This Love Will Carry’ and the gentle, acoustic and lap steel guitar escorted ‘When The Leaves Come Falling Down’ are likewise, first-class. 

Of a sweeter feel we have the beautiful piece ‘Hope You Dance’. Where Lynn's finely toned story telling vocals are guided home by equally impressive and melodious Dobro and choppy mandolin (Jon Stickley). Not to be forgotten is the title-cut ‘We’re All In This Together’ that flows, like the album in general, effortlessly. There is no stretching for notes on the album, no over-playing; where sufficient is always enough. To close it all she calls on some crucial harmony vocal support to do a fine job of old perennial ‘Shenandoah’. She may not be a cowgirl, but I dare gamble that if requested she could sing the western classics as good as anyone out there. If you don't listen to anything else this coming week give this girl a prolonged airing.

Maurice Hope