King Wilkie: A Horse Changes Course

Low Country Suite
King Wilkie
(Zoe)

King Wilkie’s 2004 album, “Broke,” suggested that the band was on course for a bright future in traditional bluegrass. The Virginia-based sextet, named for father of bluegrass Bill Monroe’s favorite horse, had the songs, the sound and the suits. The International Bluegrass Music Awards recognized the young bucks’ upside, too, and chose King Wilkie as Emerging Artist of the Year.

In the ensuing three years, the band has taken the reins – and its musical identity – from would-be labelers. King Wilkie’s new disc, “Low Country Suite,” is far from being “Broke, Vol. 2.” There still are some bluegrass-inspired tunes, but there are more diverse influences on display, too, including Gram Parsons, The Byrds, “Nashville Skyline”-era Bob Dylan and the Rolling Stones’ country-music efforts.

More than the influences are expanded. King Wilkie also utilizes a more colorful instrumental palette to round out the arrangements on “Low Country Suite.” Added to the traditional bluegrass lineup of guitar, fiddle, banjo, mandolin and bass are piano, percussion, organ, slide guitar, ukulele, Marxophone, accordion, lap and pedal steel, cello and kazoo. It’s also worth noting that fiddle goes by the name “violin” here. “Broke” was produced by Bob Carlin, who is deeply rooted in old-time music, but “Low Country Suite” was produced by Jim Scott, who has a more diverse resume and has done notable work as an engineer for Tom Petty and the Dixie Chicks, among others.

The changes add up to an accomplished statement by a young band not content to be bound by the “rules” of one genre.

Thoughts of King Wilkie being a one-trick pony are quickly dispelled on the opener, “The Raising of the Patriarchs.” Guitarist John McDonald and mandolinist Reid Burgess (and, at times on the disc, guitarist Ted Pitney) still are singing in harmony. But instead of a driving bluegrass beat, the tune is a slow, introspective and somewhat haunting ballad. There’s more pretty balladry on “Savannah,” which also adds a classic singer-songwriter touch – a harmonica solo.

Tradition finds its way into the fold, too. “Wrecking Ball” has the chug that was much more commonplace on “Broke.” “Rockabye (Farewell Lonesome Dove)” has the feel of an old-time ballad with pedal-steel flourishes added.

But it’s the branching out that distinguishes “Low Country Suite,” which is steeped in country-rock influences. “Millie’s Song” is a cousin to Parsons’ “Hot Burrito No. 2,” while “Angeline” sounds like the Stones at their “Country Honk” best. “Crazy Daisy” overlaps a bit with the melody of Dylan’s “You Ain’t Going Nowhere,” which also was a key component to the Byrds’ landmark country-rock album, “Sweetheart of the Rodeo.”

Some of the tunes have little in common with country, country-rock or bluegrass. The lap-steel guitar helps give “Oh My Love” an almost dreamy atmosphere more common in early ’70s rock. Far to the other end of the spectrum, “Ms. Peabody” is more old-time jazz or ragtime and is fleshed out with uke, cello, kazoo and light percussion. The closer, “Captivator,” is a country ballad fused with a catchy, rock-like chorus of backing vocals.

Despite its wide range of styles, “Low Country Suite” isn’t just a regurgitation of King Wilkie’s respective record collections. It’s a mature album made by a maturing band determined to forge its own career path. It’s not bluegrass, but there might not be such a genre if Bill Monroe hadn’t been adventurous, too.