Acoustic Alchemy, Arcanum.Wave-format celebrities Nick Webb and Greg Carmichael serve up newly recorded versions of some of their most popular pieces (including "Casino" and "Mr. Chow") with a live feel and level of energy not found, for the most part, on the originals. The nylon- and steel-string instrumental duo seems to have found a bit of edge it may have lacked on previous outings, and a couple of the prettier songs benefit from the tasteful employment of the London Metropolitan Orchestra. A very enjoyable set indeed. (GRP, 555 West 57th St., New York, NY 10019)
--James Jensen
Skip Gorman, Lonesome Prairie Love. Skip Gorman sings cowboy songs in a style that suggests that he never saw a Gene Autry or Roy Rogers movie in his life. Gorman's plaintive, prairie style owes more to bluegrass and old-time string bands than to the jazzy chords and complex vocal harmonies of the big-screen buckaroos. He sings a couple of songs Autry wrote in the '30s, but he does so with a high lonesome voice that makes them sound as old as the plains. (Rounder)
--Michael Simmons
Bonnie Rideout, Maggie Sansone, and Al Petteway, A Scottish Christmas. Petteway's guitar is part of this sparkling ensemble, which also includes fiddle, hammered dulcimer, and various pipes. Unusual tunes and careful arrangements make this holiday recording different and fun. The repertoire is by turns joyous and warmly peaceful. The guitar is featured on about half the tracks, often in eloquent conversation with uilleann pipes. The setting of "What Child Is This" is subtly altered to fit the Scots idiom. One of the prettiest tracks is Petteway's fingerpicked duet with uilleann piper Eric Rigler on the rare 17th-century carol "Baloo Lammy."(Maggie's Music, PO Box 4144, Annapolis, MD 21403)
--Danny Carnahan
Peter McLaughlin, Cliffs of Vermilion. McLaughlin's credentials include winning the National Flatpicking Guitar Championships and playing with Laurie Lewis and Grant Street since 1991, but his flatpicking prowess hasn't yet received much attention. That should change with this record, a strong solo effort produced by Lewis with contributions from Mike Marshall, Darol Anger, Tom Rozum, McLaughlin's brother David, and other top players. McLaughlin's flatpicking is tasteful, clean, and melodic, and the disc includes a great version of "Cotton Patch Rag." McLaughlin is also a talented composer; his instrumentals "Augusta Ridge" and "Picking Peppers" could easily become campfire standards. (Dog-Boy, PO Box 57233, Tucson, AZ 85732)
--David McCarty
The History of Slack Key Guitar: Vintage Hawaiian Treasures, Vol. 7. This compilation of the earliest slack-key recordings (1946&endash;50) was assembled by producer George Winston from the catalogues of the defunct Bell, Aloha, and 49th State labels. Gabby Pahinui figures prominently, with his 1947 "Hula Medley," "Hi'ilawe," and an infectious trio performance of "Wai O Ke Aniani." Less familiar to mainlanders, but just as appealing, are George "Keoki" Davis, Tommy Solomon, Mama Tina and George Kaapana (parents of Ledward), and five other classic players. Fine performances and excellent historical notes make this CD essential. (Hana Ola, PO Box 152, Ventura, CA 93002)
--Russell Letson
Felicia Sorensen, She Believes. Vocalist Felicia Sorensen presents a dozen finely crafted acoustic pop tunes on her debut CD. Selections range from a Celtic-inflected rendition of the Shaker hymn "How Can I Keep from Singing" to the Mary Chapin Carpenter ballad "Something Still" to the soft jazz groove of "Everything I Need." Throughout, Sorensen's voice is alluring, airy, and expressive, with flawless intonation. Session ace Michael Dowdle anchors the set with mandolin, steel-string, nylon-string, and electric guitar lines and chordal work. (Shadow Mountain, PO Box 30178, Salt Lake City, UT 84130)
--Mark Small
Red House Painters, Songs for a Blue Guitar. This offering isn't as laid-back as the elegant Ocean that preceded it, but there is still plenty here to recommend. On hypnotically fingerpicked tunes like "Priest Alley Song" and "Trailways," guitarist/singer/producer Mark Kozelek wanders ever so effectively into Nick Drake&endash;sounding territory. And on his wild and improbable remakes of Paul McCartney's "Silly Love Songs" and Yes' "Long Distance Runaround," his distorted electric playing conjures up Neil Young. (Supreme/Island)
--James Jensen
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