The Possum Trot Orchestra - The Possum Trot Orchestra

Although Going Back to Vicksburg was credited as a solo album, folklore professor John Minton was accompanied on that effort by husband and wife duo Rob & Susie Suraci. Then the couple joined Minton and his band for live performances, the idea for The Possum Trot Orchestra was born. Each member of the trio is a multi-instrumentalist and so there's a shuffling array of sounds to accommodate the album's 14 compositions, all of which are originals. Minton contributed eight with Ms. Suraci having written the remainder.

Unfortunately, this Janus-like approach to songwriting doesn't benefit the album and this is apparent with the first two songs. Minton's "The Distant Shore" is a paean to Celtic folk music. He wields an arsenal of stringed instruments while Mrs. Suraci adds her lovely voice. Mr. Suraci adds bass as well as some bodhran as the song moves to a close. While The Chieftains have nothing to fear, it's a great song which serves to remind listeners that the folk music of the British Isles formed the basis of much of the folk music of the American South. This is followed by Suraci's "Homebody" which moves the listener from the folk realm to the soft rock of the 1970's epitomized by James Taylor and his ilk. Although Minton provides a welcome accordion and some tasteful lap steel work, the song reveals itself to be rather unremarkable after the shock of transitioning from folk to 70s schlock wears off.

And so the album goes with Minton and Suraci's songs alternating with one another. Whereas the former's compositions are grounded in folk and generally slower, moody affairs, the latter's songs are like having a bucket of cold water thrown on you. Take Minton's "Been On the Job Too Long," which is almost a revelation. He trades in his normally subdued vocal style for some grit and even a hint of menace. Throw in some eerie sustained notes on the lap steel and you've got a stab at American gothic. Suraci's tender "Want Me" doesn't offer relief or a change in direction as much as make the listener wonder if he or she is listening to a different album. I waited for saccharine washes of orchestral string to suddenly emerge but, luckily, they never did. She does, however, contribute "Fever In My Veins," a wonderful bit of sultriness featuring some fine vocals atop Rob's nimble brushwork.

Minton and Suraci's playing and singing complement each other well but their songwriting styles are at loggerheads throughout. This results in an album that is erratic at best. Fans of Americana will love Minton's earnest and thoughtful tributes to American folk and shake their heads at the rest.