Principally recorded at Champagne Studios, Nashville, Tennessee and Ironwood Studio, Seattle, Washington, her solo album was Lamb's declaration of independence upon her departure from Ranch Romance, an (almost) all-woman retro country swing outfit that had recorded several very fine albums for the Sugar Hill label. Her former bandmates join her here on several tracks that could have easily been included on a Ranch Romance album, including a debonair rendition of the Texas swing classic "Panhandle Rag" and a charming Tex-Mex number titled "So What." Elsewhere on the program she returns to her bluegrass roots, accompanied by banjoist Tony Trischka, guitarist Scott Nygaard, and mandolinist Sam Bush, among others. The program opens with a burning performance of "Sally Goodin," and it also includes a great fiddle and banjo arrangement of "Katy Hill" and a cute fiddle-and-bongo arrangement of "Ducks on the Millpond." She also gets good and countrified in collaboration with Tim O'Brien on "A Good Woman's Love" and on a slow waltz entitled "Montana Glide." The variety works very well; this is an excellent album. ~ Rick Anderson
Personnel: Barbara Lamb (vocals, fiddle, twin fiddle, piano); Zelda Quackenbush (vocals); Jo Miller (acoustic guitar); David Keenan (electric guitar); Edwina Lamont, Miranda Veneer (fiddle); Nova Devonie (accordion); Pete Wasner (piano); Mark W. Winchester (acoustic bass); Ed Gately, Nancy Katz (bass); Ben Holmes (drums, triangle); Joe Craven (percussion).
Engineers: Randy West, Jay Follette, Michael Lord.
http://www.cduniverse.com/search/xx/music/pid/1018050/a/Fiddle+Fatale.htm
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Barbara Lamb
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For The Record...
Born January 14, 1958, in Seattle, WA; married in 1984 but divorced shortly after
Addresses: Home—Nashville, TN. Record company—Sugar Hill, P.O. Box 55300, Durham, NC 27717-5300; phone (919) 489-4349.
Fiddler
Barbara Lamb was born in Seattle, Washing ton, on January 14, 1958. Her father was a music teacher and a musician, and he opened the door to Lamb’s view of music. They listened to all types of music, including square dance music. When she was seven years old, Lamb’s parents would take her to the local square dance every Friday night. It was there that she first heard old-time fiddling. She loved it so much that at eight years old she picked up her first fiddle and started lessons. Lamb cites her influences as Kenny Baker and Byron Burline, Bill Monroe, Jim and Jessie, and her own fiddling teacher, Vivian Williams.
Though she does sing, Lamb does not profess to be a vocalist. She prefers to be called a fiddler who likes to sing a little bit, as opposed to a singer who fiddles a little bit. She has always sung in every band she has been in, but she is more of a harmony singer, only taking the occasional lead.
Lamb’s dream was to move to Nashville. Shetold herself that if she didn’t move before she turned 40, she would never get there. Six months after moving to Nashville, Lamb relocated again, this time to Austin, Texas to do a 12 month tour with Asleep at the Wheel. She was there almost a year and a half, moving back to Nashville in 1996. In addition to performing on the road with Asleep at the Wheel, Lamb also performed with the Seattle band Ranch Romance on Sugar Hill Records. Lamb left Ranch Romance in December 1993, stating that it was just a natural ending, a "time to move on" kind of feeling. It was a good parting and the band members have remained very close, which Lamb feels makes it great because it leaves the door open for reunion gigs. (The members of the band collectively agreed that they should be broken up for about three years before they started hitting the reunion circuit. They feared people would think they never actually broke up if they started playing together sooner than that.)
Lamb was with Ranch Romance for seven years but is now strictly a freelance player. In 1996 she did some shows with two Nashville bands, Riders in the Sky and a blue grass band called Continental Divide. For the most part, Lamb tries not to go out on the road often. She has her own deal with Sugar Hill Records which affords her the luxury to tour and play under her own name. While on tour or in the recording studio, she hires a guitar player and a bass player to accompany her; but she mostly stays at home in Nashville working as a freelance producer, session player, and occasional substitute.
As a solo artist, Lamb feels it’s her energy that makes people relate to her music. She states that she is very
energetic on stage and feels that it comes out on recordings as well. Lamb’s music can be generally categorized as country/folk or bluegrass. Lamb believes that if somebody states that they hate country music, they aren’t necessarily saying they don’t like bluegrass. They are usually referring to what they hear on top-forty radio. Bluegrass is acoustic music that is vocallydriven; no drums. It always has bass, banjo, guitar, and either mandolin or a fiddle or both. Lamb states that sometimes people call it the "high lonesome sound", because bluegrass singing tends to be in a high vocal register for both men and women.
Lamb is planning some work with Laura Love, which will be her first venture outside the world of country. Lamb recorded on all three of Love’s records but has never performed with her. Lamb feels Love plays really great African rhythms and she is very excited to do more work with her. Lamb has also said she would love to tour with Emmylou Harris. She has always liked Harris and her choice of music. On a grander scale, Lamb would like to tour with Sting and do something in a very large pop vein.
Lamb also hopes to do more producing, including soundtracks for film. She feels that producing is like being a teacher and likes the idea of being able to use different instruments that she does not play—such as all types of percussion—to bring about a musical texture. She particularly likes working with visuals for soundtracks. Though she is steering towards producing, Lamb wants to be able to do it all, creating a nice balance of performing, producing, and working as a freelance session player in Nashville.
Lamb’s newest business venture is a Nashville-based song writing camp. It is a camp for adults and happens during the first week of September. Musicians camp out in a rustic cabin in Montgomeryville State Park and study every day with hit song writers from Nashville. The school will also teach mandolin, banjo, guitar and fiddling. Lamb doesn’t call it a bluegrass camp, but all the instruments being taught are in the bluegrass vein. Lamb will be one of the teachers for fiddling.
With all these irons in the fire, Barbara Lamb is building a very successful career and enjoying every minute of it.
Selected Discography
Sources
Online
http://www.tpoint.net/~wallen/country/twangin1.txt-
http://www.dne.wvnet.edu/augusta/workshops/themes/workshop/bluegrass.html
http://www.musicblvd.com
Interview with Barbara Lamb, March 1997
Read more: http://www.answers.com/topic/barbara-lamb#ixzz1PDQRaBlM
http://www.answers.com/topic/barbara-lamb
Whispering Pines
Barbara Lamb Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Inside my lonely room, there is no in between
Whispering pines, rising of the tide
If only one star shines
That's just enough to get inside
I will wait until it all goes 'round
With you in sight, the lost are found
Foghorn through the night, calling out to sea
Let the waves rush in, let the seagulls cry
For if I live again, these hopes will never die
I can feel you standing there
But I don't see you anywhere
Standing by the well(standing by the well), wishing for the rains(wishing for the rains)
Reaching to the clouds(reaching to the clouds), for nothing else remains
Drifting in a daze, when evening will be done
Try looking through a haze
At an empty house, in the cold, cold sun
I will wait until it all goes round
With you in sight, the lost are found
Barbara Lamb's song Whispering Pines depicts a lonely soul trapped in a state of melancholy isolation. The opening lines set the mood of the song, stating that there is no in-between for the singer. He is either engulfed in darkness or alternating between reality and his dreams. The whispering pines and rising tide represent the unstoppable progression of time, and how everything in life is fleeting. However, there is still hope that exists, even the tiniest glimmer of light- a single star- can have the power to guide the lost.
There is a sense of nostalgia throughout the song, with the singer reminiscing about the past and the love he once had. He symbolizes his love as the only light that he has left, and begs for it to be protected. He yearns to be reunited with the love of his life and believes that, as long as he keeps that hope alive, he will find her someday. However, there is a sense of futility in his words, as he speaks of waiting, looking through a haze, and having to brave the cold, cold sun. It seems as though he will never find his way again, but he is willing to hold onto that faint glimmer of hope.
The song speaks to the universal human experience of feeling alone and lost, but having the ability to hold onto hope even when it feels as though there is nothing left. The unrelenting passing of time is also a recurring theme in the song, as it symbolizes the inevitability of change.
Line by Line Meaning
If you find me in a gloom, or catch me in a dream
Whether I am sad or lost in thoughts
Inside my lonely room, there is no in between
In the solitude of my room, I feel only one way
Whispering pines, rising of the tide
The sound of the trees and the flow of water symbolize nature's beauty
If only one star shines
Even if only a faint glimmer of hope exists
That's just enough to get inside
It is sufficient to lift my spirits
I will wait until it all goes 'round
I will be patient until things get better
With you in sight, the lost are found
I feel complete and happy when I am with you
Foghorn through the night, calling out to sea
The sound signifies both longing and comfort
Protect my only light, 'cause she once belonged to me
Keep my only love safe from harm, as she is dear to me
Let the waves rush in, let the seagulls cry
Let the sound of the waves and the birds bring peace and solace
For if I live again, these hopes will never die
Even in a new life, these feelings and aspirations will remain
I can feel you standing there
I sense your presence
But I don't see you anywhere
You are not physically present
Standing by the well(standing by the well), wishing for the rains(wishing for the rains)
Hoping for a better tomorrow, even in a bleak present
Reaching to the clouds(reaching to the clouds), for nothing else remains
Aspirations and dreams may be all that is left to hold on to
Drifting in a daze, when evening will be done
Feeling aimless and uncertain, waiting for the day to end
Try looking through a haze
Picturing a better future through a clouded lens
At an empty house, in the cold, cold sun
Feeling alone and lost in an unforgiving world
Lyrics © Warner/Chappell Music, Inc.
Written by: RICHARD MANUEL, RICHARD G. MANUEL, ROBBIE ROBERTSON
Lyrics Licensed & Provided by LyricFind