In a recent interview, James Taylor said that he had taken it as a true compliment when Paul McCartney thought his song “Mean Old Man” was an old standard. On their new CD Old Tin, Erynn Marshall and Carl Jones manage such a perfect blend of original tunes and Old Time standards that listeners may have to check the liner notes to determine which are which. In fact, in the song list, where one would expect writing credits, they provide keys and tunings instead.
Anyone taking the time to read the notes, however, also learns the stories and inspirations behind the original songs and the sources for the versions of traditional tunes the husband-wife duo play—such as “Colored Aristocracy,” “Bill Cheatham,” and “John Riley the Shepherd.”
While Erynn Marshall and Carl Jones can hold their own with a full range of instruments, they are joined by some guests artists as well, Bob Carlin, Sarah Kate Morgan, and Joe Dejarnette.
The title track, “Old Tin,” written and sung by Jones, strikes a nostalgic note, conjuring up images of one’s own old tins or those remembered from Grandma’s house. In addition, the pair included several special occasion pieces, including the opening tune “Halloween Wedding March,” written for the anniversary of a couple married on October 31stwith some guests wearing masks. The tune reflects the drama and joy of the occasion. Carl wrote the beautiful “Half a Century Waltz” to honor his brother and sister-in-law on their 50thanniversary.
The melody for another piece “Walt of Old Memories” purportedly came to Erynn “like a radio signal from the early days of classic bluegrass.”
One whimsical, clever composition, “Prayer for the Donkey,” sets to music one of the poems from Carmen Bernos de Gasztold’s Prayers from the Ark, published in France in the mid-20thcentury.
“Southern Special,” a train song written and performed by Cecil Campbell in the first half of the 20thcentury, also suits the collection of tunes. Another nice addition is Hank Williams “Cause My Sweet Love Ain’t Around,” released before “Lovesick Blues” brought him to fame. Erynn and Carl added a “yodel-like tag” to the chorus, which Williams should have considered in his original recording.
The instrumental piece “Curly Tail,” inspired by the memory of one of Erynn’s cats, is a catchy tune spiced up by Carl’s banjo accompaniment. The charm of the CD is that listeners who catch themselves humming the tunes may wonder if they are channeling an Old Time classic or a new song destined to become a classic in its own right.
