Post by Doug on Aug 14, 2005 11:55:19 GMT -5
Here's an interesting article about Ron from the Wichita Eagle. I think they play there later this week:
www.kansas.com/mld/kansas/entertainment/12380453.htm
Beyond bluegrass
Diversity has been key to the commercial appeal of Alison Krauss and Union Station.
BY WALTER TUNIS
Lexington Herald-Leader
Ron Block remembers a time when his world revolved around bluegrass.
This was years before he joined Alison Krauss and Union Station; ages, it seemed, before he helped mold string-band music into a serene acoustic pop sound.
"I went through a period where bluegrass was the only form of music, as far as I was concerned," said Block, who has served as Union Station's banjoist, co-guitarist and harmony vocalist, and one of its prime contributing songwriters, for 14 years.
"There was about a four- or five-year period where that was all I would listen to. Before that I was a fan of Marty Robbins. My brother had Fleetwood Mac records, and my sister would be listening to Foreigner or James Taylor. Then I got my 'bluegrass is the only good music' attitude.
"But in a way that was good. Immersing myself totally in one kind of music taught me a lot about music in general. When I realized that, I started going, 'Hmm, James Taylor sure sounds good. Joni Mitchell sure sounds good. Pat Metheny sure sounds good.' "
Turning a bluegrass background into a forum for outside inspiration has also allowed Krauss to remain a visible and continually popular talent. She'll perform with Union Station Thursday at the Kansas Coliseum.
Though she can master the Kenny Baker school of bluegrass fiddle swing (check out the version of "Cluck Old Hen" from Union Station's 2002 double-disc album "Live" for proof), Krauss has also transformed material by Bad Company, Elvis Costello, Sting, Todd Rundgren, Keith Whitley, the Foundations, Gillian Welch and, of course, Block into testaments of simplicity, sensitivity and strength.
Call it country, bluegrass or pop, Krauss' music is all that and more.
Such diversity has been key to her commercial appeal and, for a time, a point of ridicule for bluegrass purists.
"There was some resistance for a while," Block said. "There would be an attitude shown or an odd comment made. But I imagine Bill Monroe had some disgruntled old-time music people to contend with when he came out with the supercharged, innovative and radical new music he called bluegrass."
There have been recent instances where Krauss has been able to rekindle traditional inspirations, court the contemporary and expand her fan base even further. She was a cornerstone participant on the multiplatinum soundtrack to "O Brother, Where Art Thou?," which also made Union Station guitarist Dan Tyminski a celebrity with "Man of Constant Sorrow."
But on 2003's "Cold Mountain" soundtrack, Krauss turned Elvis Costello's "The Scarlet Tide" into a war-torn lullaby and Sting's "You Will Be My Ain True Love" into a ghostly Celtic-flavored lament (sung with Sting on the album and Tyminski in concert).
Contemporary tunes with antique themes ignited by a voice of ageless and effortless calm -- this has been Krauss' ultimate gift of vocal persuasion.
But for Block, who penned "A Living Prayer" -- the lovely finale to Union Station's new album "Lonely Runs Both Ways" also closes many of the band's current concerts -- Krauss' voice presents a major songwriting challenge.
At first, Block wrote specifically for the delicate contours of her singing.
Then he did his best to forget they existed.
"When I wrote 'Jesus Help Me to Stand,' I thought specifically of Alison's voice. Same thing with 'There Is a Reason' " Block said. "But for 'A Living Prayer,' I just focused on the content itself. I write better when I'm not worried about whether the band is going to accept a song I've written. You just have to let all of that go and be creative."
www.kansas.com/mld/kansas/entertainment/12380453.htm
Beyond bluegrass
Diversity has been key to the commercial appeal of Alison Krauss and Union Station.
BY WALTER TUNIS
Lexington Herald-Leader
Ron Block remembers a time when his world revolved around bluegrass.
This was years before he joined Alison Krauss and Union Station; ages, it seemed, before he helped mold string-band music into a serene acoustic pop sound.
"I went through a period where bluegrass was the only form of music, as far as I was concerned," said Block, who has served as Union Station's banjoist, co-guitarist and harmony vocalist, and one of its prime contributing songwriters, for 14 years.
"There was about a four- or five-year period where that was all I would listen to. Before that I was a fan of Marty Robbins. My brother had Fleetwood Mac records, and my sister would be listening to Foreigner or James Taylor. Then I got my 'bluegrass is the only good music' attitude.
"But in a way that was good. Immersing myself totally in one kind of music taught me a lot about music in general. When I realized that, I started going, 'Hmm, James Taylor sure sounds good. Joni Mitchell sure sounds good. Pat Metheny sure sounds good.' "
Turning a bluegrass background into a forum for outside inspiration has also allowed Krauss to remain a visible and continually popular talent. She'll perform with Union Station Thursday at the Kansas Coliseum.
Though she can master the Kenny Baker school of bluegrass fiddle swing (check out the version of "Cluck Old Hen" from Union Station's 2002 double-disc album "Live" for proof), Krauss has also transformed material by Bad Company, Elvis Costello, Sting, Todd Rundgren, Keith Whitley, the Foundations, Gillian Welch and, of course, Block into testaments of simplicity, sensitivity and strength.
Call it country, bluegrass or pop, Krauss' music is all that and more.
Such diversity has been key to her commercial appeal and, for a time, a point of ridicule for bluegrass purists.
"There was some resistance for a while," Block said. "There would be an attitude shown or an odd comment made. But I imagine Bill Monroe had some disgruntled old-time music people to contend with when he came out with the supercharged, innovative and radical new music he called bluegrass."
There have been recent instances where Krauss has been able to rekindle traditional inspirations, court the contemporary and expand her fan base even further. She was a cornerstone participant on the multiplatinum soundtrack to "O Brother, Where Art Thou?," which also made Union Station guitarist Dan Tyminski a celebrity with "Man of Constant Sorrow."
But on 2003's "Cold Mountain" soundtrack, Krauss turned Elvis Costello's "The Scarlet Tide" into a war-torn lullaby and Sting's "You Will Be My Ain True Love" into a ghostly Celtic-flavored lament (sung with Sting on the album and Tyminski in concert).
Contemporary tunes with antique themes ignited by a voice of ageless and effortless calm -- this has been Krauss' ultimate gift of vocal persuasion.
But for Block, who penned "A Living Prayer" -- the lovely finale to Union Station's new album "Lonely Runs Both Ways" also closes many of the band's current concerts -- Krauss' voice presents a major songwriting challenge.
At first, Block wrote specifically for the delicate contours of her singing.
Then he did his best to forget they existed.
"When I wrote 'Jesus Help Me to Stand,' I thought specifically of Alison's voice. Same thing with 'There Is a Reason' " Block said. "But for 'A Living Prayer,' I just focused on the content itself. I write better when I'm not worried about whether the band is going to accept a song I've written. You just have to let all of that go and be creative."
We don't hear enough on here about Ron! 