A Resurrection in Song: Valerie Smith’s Maggie’s Journal is a Bluegrass Masterpiece of Historical Remembrance
By Christian Lamitschka for Country Music News International Magazine
Twelve years in the making, Valerie Smith’s latest project, Maggie’s Journal, is more than just a collection of songs; it is a sonic excavation of the human spirit. Released on January 1 via Bell Buckle Records, this 30-track double-disc odyssey serves as a definitive career milestone for the Grammy-nominated artist.
By breathing life into the handwritten words of her great-grandmother, Margaret Attebury Brooks-McCamis, Smith has created a haunting, beautiful, and vital bridge between post-Civil War America and the modern day.
The Artist: Valerie Smith
With a career spanning over thirty years, Valerie Smith has long been a pillar of the bluegrass and Americana communities. Known for a vocal style that NPR’s Dave Higgs describes as “sassy, sultry, and siren-like,” Smith has garnered Grammy, IBMA, and Dove Award nominations. Having collaborated with legends like Ralph Stanley and Tom T. Hall, she brings a seasoned authority to this project, which she describes as a “mission” to honor an ancestor she never met but came to know through a “Car Load Tablet” found in an attic trunk.
The Review: Disc by Disc
The album is structured uniquely, alternating between “Maggie’s Readings”—spoken word excerpts taken directly from the journal—and original compositions that expand on those emotions.
Disc 1: The Weight of the Past
The first half of the album establishes the atmospheric tension of Maggie’s early life, moving from childhood innocence to the realization of a difficult path ahead.
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“Introduction: The Dream Story” & “Maggie’s Reading: Part 1”: These opening tracks set the stage, drawing the listener into the “attic” of history.
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“That Was A Long Time Ago”: A haunting reflection that uses Cody Kilby’s delicate guitar work to underscore the distance—and closeness—of memory.
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“Started Wrong In This Life”: Smith’s vocals shine here, capturing the resignation and grit of a woman acknowledging her circumstances.
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“Warm My Feet And Cry”: A visceral, domestic image of sorrow. The fiddle work by Stephen Burwell provides a weeping, melodic counterpoint to the lyrics.
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“Oh Dear Reader”: A meta-moment where Maggie speaks directly to us. It feels like a secret being shared across a century.
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“Jealous”: A darker exploration of human emotion, bolstered by Scott Vestal’s driving banjo, highlighting the friction in Maggie’s marriage.
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“I Never Learned To Love Him”: Perhaps the most heartbreaking track on the first disc, it addresses the “violent man” Maggie was married to with unflinching honesty.
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“My Life Of Strife”: A traditional-leaning bluegrass number that balances the heavy subject matter with high-lonesome musicality.
Disc 2: Resilience and Reckoning
The second half delves deeper into the specific tragedies and the ultimate survival of Maggie’s spirit.
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“Misery Of Green”: A clever, evocative play on growth and stagnation. The harmony vocals from Donna Ulisse and Mike Rogers create a rich, choral depth.
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“Blue Bottle Of Bad”: A gritty, roots-heavy track that deals with the poisons—both literal and metaphorical—that Maggie encountered.
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“Alva’s Lullaby”: A moment of pure, tender hope. Smith softens her tone here, offering a glimpse into the maternal love that kept Maggie anchored.
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“Jim O’Dell, Straight From Hell”: A standout narrative powerhouse. It is a gripping, cinematic piece of songwriting that showcases the “siren-like” power of Smith’s voice as she recounts the villainy Maggie faced.
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“What A Shame For A Girl Like Me”: A social commentary on the lost potential of women in the 19th century, highlighting Maggie’s intellect and “hidden gentle spirit.”
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“When You Ain’t Got Nothin’”: A blues-infused Americana track that emphasizes the themes of poverty and survival.
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“A Raggie Thing Like Me”: A self-reflective, humble, yet defiant penultimate track.
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“Maggie’s Final Thoughts – The End”: The project closes with the quiet scratching of a pen and the finality of a life well-documented, leaving the listener in a state of reverent silence.
Production and Craftsmanship
The technical execution of Maggie’s Journal is flawless. Produced by Donna Ulisse, the album benefits from a writing room that included Smith, Ulisse, Daniel Crabtree, and Ann Miller. The instrumentation is a “who’s who” of bluegrass royalty:
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Scott Vestal’s banjo and engineering provide a crisp, modern edge to the traditional sounds.
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Evan Winsor’s upright bass provides the steady heartbeat of the record.
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Chris Latham’s mastering ensures that even the spoken-word segments feel as “big” and immersive as the full-band numbers.
The Verdict
Maggie’s Journal is a monumental achievement. It succeeds in making the personal universal. While it tells the specific story of Margaret Attebury Brooks-McCamis, it speaks to the broader history of women’s rights, rural Missouri life, and the enduring human spirit. Valerie Smith has not just released an album; she has curated a museum of the soul.