Doug Bright, Heritage Music Review, November 2008

All too often, especially in this age of relentless musical
homogenization, urban bluegrass bands tend to be painfully easy to identify. Despite their polished vocal harmonies and slick instrumental chops, the twangy, heartfelt simplicity that defined the music in the early 1950's is virtually absent. Nevertheless, one all-star bluegrass band from Latte Land stands in refreshingly sharp contrast, demonstrating a high standard of musicianship without losing the music's deep-rooted hillbilly soul. In witty recognition of this fact, the band calls itself The Downtown Mountain Boys . . .

. . . this disc fairly crackles with energy from beginning to end. BIG DARLIN', named for a Paul Elliott instrumental that serves as the final track, offers a satisfying mix of the old and the new delivered with a brand of creativity that's deeply rooted in tradition.

 . . . It opens with Nancy Riccio's "Back In The Black", a fast-paced
attention-grabber that captures the desperation of living from paycheck to paycheck in tough economic times. Another uptempo Riccio number on this album involves desperation of a different kind, but in this drama the name of the lady being desperately sought is Carol Ann, not Susan. Both are characterized by solid three-part harmony and crisp, snappily choreographed solos from banjoist Dave Keenan, mandolinist Tom Moran, and fiddler Paul Elliott. From the Gibson Brothers, a popular bluegrass band from upstate New York, comes "I Gotta Get Back To You", which features guitarist Don Share in a tight vocal duet with Keenan. The twin fiddle-mandolin work from Elliott and Moran, sometimes in unison and sometimes harmonized, adds a fascinating dimension.

Historically speaking, the oldest number on this album is the traditional "Black-eyed Susie", but here again, the Downtown Mountain Boys put their creativity to use. Instead of the barn-burning tempo at which it's generally performed, their pace is a relaxed lope, with Terry Enyeart leading on the verses and Moran harmonizing beautifully with Elliott's fiddle. Likewise, Johnny Cash's "Train of Love" is taken at a slower-than-usual tempo, but the band's insistently rhythmic, Cajunesque approach still captures the song's essential train effect.

As this album eloquently demonstrates, the most astonishing thing about the Downtown Mountain Boys is the deeply rooted traditionalism of their original material. Terry Enyeart's "My Holy Beacon" is the quintessential bluegrass gospel song, sounding as if it could just as easily have been written during the music's'formative years. Dave Keenan's "Bug Tussle" has the bluesy, down-home feel of an old-time fiddle-and-banjo tune, but its brisk tempo and heads-up instrumental work would render it exciting in any age. Though somewhat crookedly metered and quirkily chorded, Paul Elliott's "Big Darlin'" possesses a similarly bluesy old-time quality, and the band comes up with fascinating instrumental duet passages that climax with yet another dazzling demonstration of fiddle-mandolin harmony from Elliott and Moran.

Whether they're performing a Flatt and Scruggs classic like "Till The End of The World Rolls Round", a swinging vintage honky-tonker like "Smooth Sailin", or a hot new original, the Downtown Mountain Boys are a true-blue bluegrass band. Their snappy, tradition-based instrumental work is fully matched by solid, country-flavored vocals from Terry Enyeart, Don Share, and Dave Keenan.

Bluegrass Unlimited, February 2008

"Big Darlin’” is a dynamic offering of bluegrass that should attract new audiences for the Downtown Mountain Boys"  Read the full review.
 

Pete Goodall, KBCS F.M., December 2007:

Top Ten Bluegrass Recordings of 2007.  Big Darlin' was rated the fourth best bluegrass recording of 2007, and Dave Keenan's "Sometimes Dig for Taters" was rated the sixth best bluegrass song of the year.  "What a group!  They have three of the most talented singers along with two outstanding sidemen."  Here is Pete's List:

The Infamous Stringdusters: Fork In The Road, Sugar Hill-
John Reischman & The Jaybirds: Stellar Jays, Corvus
The Downtown Mountain Boys: Big Darlin’, Self
Tony Trischka: Double Banjo Bluegrass Spectacular, Rounder
Larry Sparks: The Last Suit You Wear,
The Dappled Grays: Doin’ My Job, Self
Steve Gulley: Sounds Like Home, Lonesome Day
Steep Canyon Rangers: Lovin’ Pretty Women, Rebel
The Bluegrass Brothers: Appalachian Memories, Hay Holler
Larry Cordle: Took Down and Put Up, Lonesome Day
 

Tom Petersen, Victory Music Review, August 2007:

The Downtown Mountain Boys are Paul Elliott, Don Share, David Keenan, Terrence Enyeart and Tom Moran, the cream of Seattle-area pickers, top teachers, session musicians, and musicologists . . . so the release of their latest, Big Darlin’ comes with weighty expectations. Happily, they make it sound easy, as great musicians can. Big Darlin’ is a solid slice of real, straight-ahead Bluegrass, with only the faintest hints that the band members do some work outside the genre (banjoist Keenan, who made his name in rockabilly and sports Seattle’s most iconic haircut, can’t help singing like Lefty Frizzell). The disc features a couple numbers by award-winning songwriter and former Seattleite Nancy Riccio, including the scorching opening cut, “Back in the Black,” which is about how payday means not just solvency but a general lifting of spirits. Most of the disc is wisely chosen material from a variety of County and Bluegrass sources, like Jesse Fuller’s “99 Years and One Dark Day” and “Till the End of the World Rolls Around.” The cuts are committed with the drive and verve Bluegrass needs, but just to be different, DTMB does the usually-hyper “Black Eyed Suzie” as a slow country lope. Fiddler Paul Elliott penned the title track, while Keenan contributes a fascinating, hilarious, philosophical piece of cornpone Zen, “Sometimes Dig for Taters.” Big Darlin’ is the big local Bluegrass release of the summer, and should go national. It’s big, darlin’.

George McKnight, Uptown Bluegrass Featured Artist of the Month

From the barn-burning licks of the opening song, "Back in the Black," to the tasty fiddling' of Paul Elliott on the self-penned title tune, "Big Darlin," and everything in between, this is one fine CD of bluegrass music by the Downtown Mountain Boys.  This group is based in Seattle, WA., a city of hills, mountains, and valleys . . . hence the name.

The music on this CD is very true to the sound the band produces on stage in live concert shows.  It's a very tight sound delivered with the confidence that comes with many years of working together to hone a great sound.  Paul Elliott on fiddle, is smooth and powerful, determined to be a good fiddler in all styles and forms.  Paul is a much-in-demand session fiddler and showcases his talents in several Northwest-area bands.  Terrence Enyeart, a mainstay of traditional bluegrass in his home area is an accomplished bass and mandolin player, plus he is a great lead singer and songwriter.  His background includes stints in "Rural Delivery" and "Brother's Keeper."  Terrance is an accomplished songwriter and that is evident with his tune "Holy Beacon."  David Keenan, is a powerhouse picker on banjo, mandolin, guitar and other instruments, and is also a good singer and songwriter.  A professional entertainer with many bands over the years, David brings a great sense of humor to the band and his on-stage work is entertaining and fun.  Don Share on the six string guitar is a class act all the way.  His guitar pickin' is "clean and decent" and it mirrors his vocal work.  Tom Moran on mandolin is strong and steady, a total complement to the sound of the band.

Fourteen Songs on the CD showcase the band very well.  Original material: "Bug Tussle" (a great banjo tune from David Keenan), "Sometimes Dig for Taters," and "Big Darlin," a super fiddle tune from Paul Elliott, and the aforementioned "Holy Beacon" from Terrance Enyeart.  Well presented covers from other writers include "99 Years and One Dark Day" by Jesse Fuller, "Till the End of the World Rolls Round" by Thomas Newton, and a great rendition of a Johnny Cash song, "Train of Love," ...great fun.

Every song features crisp and clean pickin' with great lead vocal work on duets and trios.  The album liner notes are a bit sparse, and hopeful future recordings will include more background on the band members and the songs.

Great songs arrangements, singing, picking, and overall production.   This is a super CD and presents the talents and skills of a fine band.  Be sure to bookmark "Big Darlin" from the Downtown Mountain Boys for your next CD purchase. 

Andy Boynton, Arches Magazine (Winter 2008)

Big Darlin’ comes crammed with catchy, upbeat, finger-picking fun, along with serious chops; it’s easy to like.

Roger Weinheimer, CDBABY.COM

I love listening to this CD and singing along. All the tunes are very catchy. From payday to pulpit, they cover it all with hard hitting licks and witty lyrics. A must have for the discerning bluegrass fan.

 Michael LaRoche, 2003, Shoreline Community College

With a sound bridging the classic to the modern, bearing influences from groups such as the Lonesome River Band, and The New South. “Downtown Mountain Boys” kept the audience in awe. Tom Moran yielded some sweet tremolo on the mandolin during classic songs such as the Jimmy Martin standard  “Mr.Engineer,” as well as breaking out into rippin’ breaks on the bands faster tunes. Paul Elliott set the standard high for fiddle playing that evening with some perfect bow work. One song that set the bluegrass blaze a burning, was the Keenan original banjo tune “Bug Tussle”. Keenan’s banjo Playing was electrifying showing everyone in Seattle just who the top Banjo player around is. Keenan also added Twin fiddles and lead vocals to the poignant “please search your Heart.”  Downtown Mountain Boys finished off their set with beautiful tune “Carol Ann” penned by Seattle’s Own Nancy Ricco.