Billboard Magazine - Closeup Review of Shady Gove

Without the help of recorded material, save a seven year old but barely published album on the now defunct TRX label Scrivenor has succeeded in gathering an appreciative following via his energetic solo performances at clubs, concert halls and college campuses across the country. He effectively paces the LP by blending traditional folksy blues with four of his own compositions and adding a few favorites by writers such as Brownie McGee and Sonny Terry, Eric Von Schmidt and Mance Lipscomb Doc Watson's fluid guitar style and harmonizing vocals are an especially complementary counterpart to Scrivenor's innovative acoustic and slide guitar work and expressive vocal quality throughout the LP.

Forming the nucleus instrumental support on the album are Michael Coleman on bass and adding harmony vocals along with Watson on "Sugar Babe," Buddy Emmons on steel guitar with a dobro part on "Sugar Babe," David Briggs on piano, John Hartford on banjo and fiddle, Kenny Malone on drums and Mark Morris on percussion. Rounding out the sound are Danny Flowers, harmonica; Durwood Edwards banjo: Bill Puett, recorders and clarinet; Mike Melford on mandolin and Randy Hillman on bass in "Cocaine." His self-penned "Good Time Lady opens the album with its refreshing melody fitting the song's positive lyrical reflections.

Scrivenor's bright acoustic guitar work, soon coupled with Watson's, sets the light-hearted flow that's concurrent with Hartford's rippling banjo licks and Emmons' proof that steel guitar doesn't always sound, country.

"Sugar Babe'' follows, continuing the good time mood with a funky sing song tempo. catchy rhetorical harmonies to the chorus lines performed by Watson, Coleman and Scrivenor and candid lyrical content.

The pace quickens with the lively instrumental "Pigeon River Breakdown," a tune he wrote about a river on the West Coast of North Carolina It's a shining example of Scrivenor's exceptional acoustic guitar expertise with rapid progressions vividly interpreting the feel and intensity of a fast flowing river.

He aptly conveys the strung out blues with his treatment of "Cocaine" which shifts the tempo to low and bluesy. Scrivenor's vocals ring sincere, combined with his laid-back convincing guitar licks, Hillman's soulful bass and Puett's tasty clarinet interludes.

"If Your Man Gets Busted" is another traditional blues cut that lends itself to Scrivenor's interpretive slide guitar abilities. Sassy harmonica lines enhance his blue eyed blues vocal delivery and Watson's guitar breaks are again an added attraction.

Set two opens with a lively offering of "Walkin' My Blues Away" which Scrivenor renders with vitality.

Coleman's hot bass runs throughout the cut maintain the excitement with slide, steel and fiddle breaks lacing the verses.

The mood shifts to a slower pace again with "My Love Come Rollin' Down." The flowing feel rolls with gentle guitar riffs, smooth slide and accentuating piano complementing another vocal highlight of this LP.

"Minuet For The Backroads," the second self penned instrumental, is a classically flavored treat Scrivenor and Watson blend beautifully on this acoustic guitar highlight enhanced with Puett on recorders. As the recorder takes the break, Watson's guitar steps in to carry the bass line, creating a pleasant affect.

Watson talks up a storm in reply to the salty lyrics Scrivenor delivers in "Black Cat Bone," a fun traditional blues rendering that brings the tempo back up to a toe tapping pace. Emmons slides in some effective steel guitar work and Briggs inserts timely infectious repetitive piano runs between lines.

"Goin' To The Country," written by Scrivenor, takes the beat up to foot stomping in this heartily offered last vocal cut. His well defined, crisp, clear, and expressive vocals carry through to the end. Scrivenor's acoustic and slide guitar work is joined by Watson's flatpickin', Melford on mandolin and Edwards on banjo. The LP winds up with an instrumental that Scrivenor performs on another of his favorite instruments, the autoharp. Combining "Jesu Joy Of Mans Desiring" with a little of Beethoven's Ninth brings a classic finish to a well performed set. PAT NELSON

Coconut Gove - Flying Fish Records produced
by Ernie Winfrey, Gove Scrivenor.

Gove manages to make an autoharp sound like an entire rhythm section while holding down vocals and acoustic guitar parts as well. Material ranges from bluegrass flavored excursions and bright up tempo numbers to beautiful country ballads, and musicians include Doc Watson, Danny Flowers, Dave Loggins and "Fingers" Taylor. Best cuts: "Reason To Believe," "Before Believing," "Close The Door Lightly." Gove's music includes a variety of influences, including country and bluegrass, and he has developed a loyal cult following with the albums released thus far. Produced by Ernie Winfrey and the artist, this collection of easy going tunes has an interesting, well balanced sound, including a nice new version of "Reason To Believe."

We received Gove's newest release "Coconut Gove" the other day, and I listened, and listened and then I decided to listen some more.
Bobbe Shore Katz - RICHMAN BROTHERS RECORDS

For what it's worth, I liked "Ramble On And On" and "Rainbow Willie" a lot, but my favorites were "Everybody's Dancing" and "I'll Fly Away." Jim Rothermal and Marty Stewart have magic lips and fingers, respectively. Best of luck with your new release.
Gary English, Executive Director - NECAA