MOLLYBLOOM: These Days

Mollybloom

These Days

© 2000 Mollybloom (619981023023)

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Original Bluegrass

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“Mollybloom is an interesting band with a distinctive sound and a fresh body of materials - all big pluses in making a name for themselves, and “These Days” should help them spread their sound beyond the Pacific Northwest.”
Bluegrass Unlimited January 2000

This is the first CD in Mollybloom’s discography, released in late 1999. Five of the fourteen songs were composed by lead guitarist David Dahl. These include “These Days”, “Round the Bend”, “Way Back Home”, “Good Morning Heartache” and “What I’ve Always Known”. Fiddle player and lead guitarist, Jeff Shippy, contributed “Umpqua” (composed as a theme for a fishing show), “Hillside of Flowers”, “Running Up the Fireline” and “All Alone and Feeling Blue”. The original compositions were rounded out with banjo player Matt Gray’s “Too Late to Tune”. This CD has stood the test of time, often named a favorite for its traditional sound and solid lyrics. At the time of this CD was recorded, the group consisted of David Dahl on rhythm guitar, Jeff Shippy on fiddle and lead guitar, Ron Relaford on mandolin, Clark Blanchard on bass, and Matt Gray on banjo.

Dave Dahl who spent his early years in Montana and is currently a practicing
Music Therapist. Dave has played banjo and guitar for more than 20 years. He is also a highly accomplished pianist.

Jeff Shippy, on fiddle, viola and lead guitar, is an orchestra teacher. Jeff has been attracted to fiddle and bluegrass since his childhood in Colorado. He has mentored his students in forming bluegrass bands. He also performs in his church.

Ron Relaford, a massage therapist and music teacher, has played and taught
mandolin, banjo, and guitar for over 30 years. As a mandolin player, Ron has
performed with Celtic, Blues, and folk groups. His varied music background
even includes African drumming.

Clark Blanchard is a public school music teacher in Silverton, Oregon. He
has performed in local bands since 1963. Clark began his music career as a
piano and guitar player in the 1970’s. Clark then turned to playing
bass and singing while making a living playing Pop, Rock, and Jazz in the
Portland area.

Matt Gray, on banjo, has been a member of the Portland bluegrass community for many years. Playing with several groups, Matt has earned the reputation of being an innovative and technically precise banjo player. These skills helped him win the Oregon State Bluegrass Banjo Championship in 1996.

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  • Much originality that taps the creativity, inspiration & motivation within thems
    author: Joe Ross

    Playing Time – 45:13 -- I always enjoy hearing what the Pacific Northwest’s many fine regional bluegrass groups are up to. Mollybloom has been around since 1995, and they keep a fairly low profile. Their largely original, contemporary music is certainly deserving of a wider audience. These two recordings also show the phenomenal growth among this quintet that has remained solid with the same personnel of Dave Dahl (guitar), Ron Relaford (mandolin), Clark Blanchard (bass), Jeff Shippy (guitar, fiddle) and Matt Gray (banjo). Dahl, Shippy and Blanchard handle the vocals. None of them are standout lead vocalists, but they manage to present a mournful feeling and calibrate nicely on their harmonies. At times, phrasing seems a little forced and uncomfortable. “These Days” was released in 1999. Since then, “Tillamook Burn” was their sophomore 2003 release and a tribute to firefighters everywhere. Recently, classically-trained Bob Rindy has replaced Jeff Shippy in the band. Few bands can boast the sheer amount of original material that Mollybloom can. Dave Dahl and Jeff Shippy compose the songs, and Matt Gray pens their instrumentals. Lyrics aren't included in this 1999 album. Writing memorable songs is definitely a challenge. To fully succeed, a band with this much original material must fully tap the creativity, inspiration and motivation within themselves. I look for introspective lyrics with hard-hitting messages that listeners can relate to. “Hooks” are typically lines that draw listeners in and give us something special and memorable. Of course, catchy melodies are also needed. Mollybloom’s music has a contemporary flair, and relationships gone bad are the predominant themes. Sometimes their melodies and messages seem a tad alike and trite, and they come off as rather indistinctive. Mollybloom seems to be finding their stylistic footing in the jamgrass arena, and their greatest success may be found by pursuing that circuit and following. The genesis for some of their songs is clearly inspired by adventurous tastes. All of the pickers contribute strongly to the arrangements, with 1996 Oregon State banjo champion Matt Gray deserving of special mention. Shippy’s fiddle also offers some enchanting instrumental fills and twists. Songwriting is hard work, and only with a good deal of practice will one become comfortable doing it. As a craft, it can be learned. As a form of communication, a person must master the styles, ways and methods to say exactly what is felt within one’s soul. The prolific songwriters of Mollybloom clearly have talent and aptitude in this arena. Certainly, some of their songs seem to work better than others, and everyone will have their favorites. So who are these guys? Dave Dahl, originally from Montana, now works as Music Therapist at the Oregon State Hospital. Massage therapist and music teacher Ron Relaford has played and taught mandolin, banjo, and guitar for over three decades. Clark Blanchard, a school music teacher in Silverton, Oregon, has performed in bands since 1963. Matt Gray has performed with the groups, Columbia and Everything’s G. Mollybloom’s strength is their willingness to push the envelope, try new things, and capitalize on their eclectic musical backgrounds and tastes. They appear to share a common vision for their music, as well as share a bond of friendship. The band’s arranging skills are commendable. As instrumentalists, the band members appear comfortable with various idioms, and their music is probably best categorized as Americana. The band is clearly developing its niche outside the more traditional center of bluegrass music. (Joe Ross, staff writer, Bluegrass Now)

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