In other words, it’s pretty much everything one would hope for on a recording by a foursome that plays what has been described as “bluegrass
with a jug band feel.” In the accompanying publicity sheet, one of the members says, “We don’t sound exactly like anybody else, but we have the
rootsy qualities of the Nashville Bluegrass Band, the style breadth of a band like Hot Rize, and energy similar to the Old Crow Medicine Show.”
If that statement sounds a bit boastful, listening to “Fenceline” instead makes it sound overly modest. (Hey, these guys are from Minnesota, after all.)

Probably the known band comes to my mind after listening to the Whistlepigs is (are?) the Grascals, the hottest group in bluegrass
today. Both bands have a similar punch to their music. (I could make favorable comparisons to many other groups, too.)

Before I go any farther, I should note that The Whistlepigs String Band consists of Fred Keller, mandolin; Joel Olson, banjo; Chris Jones,
guitar; and Ross Willits, bass. They all sing, both lead and harmony. Guesting on one track of “Fenceline” is State Fiddling Champ Catie Jo Pidel. Okay, to the specifics: For each individual song, the solo and harmony singing is totally appropriate; and instrumental work and arrangements are pretty much perfect. To me, though, what really stands out is the top-quality original songwriting and the variety shown in the song selection.

The original songs deal with subjects like the heartbreak of losing a family farm little by little; a tongue-in-cheek comparison between
financial and romantic cheatin’; the logic of playing southern-rooted music in Minnesota; a romantic infatuation brought to an end by the end
of a life; a “brave engineer” story that must be true because it would be difficult to fabricate; the heartbreaking suicide of an emotionally-disturbed person; and a comparison between traditional and contemporary religious worship. The original instrumentals take a variety of twists and turns, too. (Altogether, nine of the numbers were written by the band members.)

Others whose numbers are represented include Lester Flatt and Jimmie Skinner, and also less-expected sources like Blind Boy Fuller, Steve
Earle and Bob Wills (in one of his catchier numbers, written by Cindy Walker). The “covers” represent real variety, too. In fact, this CD jerks a listener from mood to mood, inspiring chuckles one minute and tears the next.

If the Whistlepigs know anything about my review standards, they’ll know I’ll grouse about the sin of doing two consecutive numbers in the same
key. However, the fact that the two numbers are extremely different reduces the crime from a felony to a misdemeanor. And hey, two out of 17
songs isn’t too bad.

I don’t know the Whistlepigs--whether their schedules will allow them to promote this recording in exotic place, but if it were possible, I think
“Fenceline” gives the Minnesota band potential of positive recognition on a national level. In the meantime, I’d recommend it to anybody.

By the way, now I’ve listened to this CD eight times.