REVIEW: The Quebe Sisters Are Angelic Vocals and Stirring Fiddles


I think its amazing young people are curious enough to compose & perform songs that reek of vintage antiquated melodies & lyrics. That they do it with finesse, expertise & zeal is to be admired. Dallas’ stunning Quebe Sisters have self-produced their 4th self-titled LP for Sept 20th release. The independent 10-song 29-minute collection is a clever musical transmigration.

While this music borders on Lawrence Welk female balladry with back porch Hee-Haw exuberance, dime-a-dance melodies. The pristine Grace, Sophia & Hulda vocals are angelic — not Enya angelic — just subtle until their fiddles stir the coals under your stew.

Their superb voices take your ears down a nostalgic path expertly administered with their unique progressive Western Swing passion. They decided to solo rather than play together throughout the originals & covers. To preserve the traditional approach, they recorded in 1 studio with vintage equipment to ensure a warm oldish sound. The music does indeed sound vintage, the production not much so. Maybe the wrong microphones.

Loaded fiddles dazzle on “Load at 7 (Leave at 8),” — quite a hot instrumental. When they do sing in unison like on Willie Nelson’s “Summer of Roses,” — their step back into the ’40s is clear, but it’s not a dusty one.

Will younger people relate? Nah. It doesn’t matter.

If people like The Quebes write, sing & record songs such as this for 15 years there’s an audience. Their wall-of-sound fiddle sawing is dynamic. Simon Stipp’s guitars & Daniel Parr’s upright bass add retro fullness. Like finding an old 1950’s toy that’s still in its box. It’s old…but it’s new.

That this should even exist in 2019 is a miracle. The Sisters buffed it & despite their international acclaim they are still a shiny Texas secret to many.

“Lonesome Road,” is carved from Eisenhower Years & 60’s country-pop reminiscent of Patti Page, Sandy Posey, & Diane Renay.  Stipp’s guitar anchors the tune until the fiddles come.

I understand hardcore music fans may dismiss this as hokey, & novelty oriented. They’re wrong. They miss the point. It’s fun music, well-played. Yes, it goes back but it’s distinguished with no posturing. This was popular sincere music — during a time of leisure. No tearing songs apart to find a subliminal message. “Lullaby of the Leaves,” strides about with no blemishes. “The Waltz You Saved for Me,” is a satiny venerable tune. Like a lost Patsy Cline – it has the charm of early pop ala Connie Francis, Gale Garnett (“We’ll Sing in the Sunshine”) & Skeeter Davis (“End of the World”).

Gypsy-violin introduces “Bluegrass in the Backwoods,” & once the girls fire up their strings, they remind me of Burning Bridgett Cleary’s dueling fiddles. “Twilight on the Trail,” – is a beautifully sung conclusion.

Criticism: each song should’ve detailed who sang what on the CD.

Available on their website & Barnes & Noble :

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