WATCH: The Sweeplings, “Deep & Wild”

Artist: The Sweeplings (Cami Bradley and Whitney Dean)
Hometown: Spokane, Washington (Cami) and Huntsville, Alabama (Whitney)
Song: “Deep & Wild”
Album: Losing Ground, Vol. 2
Release Date: September 18, 2020
Label: Nettwerk

In Their Words: “‘Deep & Wild’ is a lighthearted song about entering into the unknown with a willing attitude and a free spirit. We sat down to write this song with a painted picture of each scene in our minds. It shaped itself as we wrote, seamlessly creating a tune about the longing to explore the unknown with someone you love with no other purpose other than to find what’s most freeing. This song in particular fits itself into our EP series, Losing Ground, Vol 1 & 2, as a happy spot of contrast to the cinematic drama of the most of the collection.

“It took us a long time to get to these EPs. We worked tirelessly relationally and musically to make it happen. Stopping and starting, pushing and pulling. Because of that, we lost some ground in our process, but it ultimately brought us to something more magical. These two EPs truly have the grit of our story behind each song. The songs range in sentiment and tone, but all share the same heart. We wanted to create something special with as minimal sonic distractions as possible. We just let the performances and songs speak for themselves, simple and even bare at times. In that, we found our true identity as artists and songwriters.” — Cami Bradley and Whitney Dean, The Sweeplings


Photo credit: Glass Jar Photography

BGS 5+5: Elizabeth Cook

Artist: Elizabeth Cook
Hometown: Wildwood, Florida
Latest album: Aftermath
Personal nicknames: Shug

What’s your favorite memory from being on stage?

Forgetting that I’m on stage and then coming to and being like, “Oh my god, I’m on stage!” That, and one night in Phoenix, this group of young girls stood at the front of the stage and sang along to every one of my songs.

What was the first moment that you knew you wanted to be a musician?

I didn’t really know that I wanted to be. I was a kid singer — so, I came to it from a funny angle. I fought it for years and tried to do other things, but never found a really gratifying way to fit into the world. I got asked to open for Todd Snider once in Wilmington, North Carolina, at this outdoor amphitheater. He threw a one-man acoustic folk show party riot throwdown. I’d never seen anything like it and really haven’t since. But I thought if this is on the table — I will try it.

What other art forms — literature, film, dance, painting, etc — inform your music?

All of it. I’m always collecting details that ping me in some way… and it can be something that I see, read, taste, touch or hear.

What’s the toughest time you ever had writing a song?

I wrote a song about my mama’s funeral. And of course it’s not something you want to write about, because it’s not something you want to even happen in the first place. But it did. And I was really dreading this event, and the responsibility I felt in the throes of my grieving. I was resenting the whole process. But then, it turned out to be a really beautiful day and it was helpful and healing. And I owed it to the world, almost a right to the wrong for my attitude towards it in the beginning. The song is called “Mama’s Funeral” and it’s on Welder.

What rituals do you have, either in the studio or before a show?

I have a “hard hat” bag! I can get really fussy and anxious right before I go on and dig neurotically for things I think I need. So I made this little bag… it has all the comforts from Advil to throat sprays and drops, a neck and hand massager, extra guitar picks, my lucky rock and some dice.


Photo credit: Electropogram

LISTEN: Jordan Lehning, “The Quarry Song”

Artist: Jordan Lehning
Hometown: Nashville, Tennessee
Song: “The Quarry Song”
Album: Little Idols
Release Date: August 7, 2020

In Their Words: “Once I realized ‘The Quarry Song’ would [not] act [as just] a standalone song about a breakup, but as a chapter to a bigger story, I was able to zoom out and understand more about the potential for the rest of the record. Treating the record as a film with scenes and arcs was incredibly informative to the pacing and sequence of the final product. In particular, there are interludes between the songs. ‘The Quarry Song’ is preceded by ‘Hey Boy,’ where the two main characters are lying in their own beds at their respective homes pining over one another telepathically. But after that song, during the interlude, we can hear her emotions shift. A longer interlude than exists in the rest of the record occurs. She pushes and pulls her emotions apart, and after some time has passed she reluctantly agrees to meet our hero one last time in ‘The Quarry Song.’” — Jordan Lehning


Photo credit: Laura E. Partain

The String – Chatham County Line

With an old-school look and feel, Raleigh, North Carolina’s Chatham County Line started at the dawn of the new millennium in a surge of passion for bluegrass music. Now at 20 years old, they’ve made only one very recent personnel change and refreshed their concept as a post-modern string band with drums.


LISTEN: APPLE PODCASTS

Their new album, Strange Fascination, displays far-reaching vision and a warm, cohesive sound, riding on the unique songwriting voice of Dave Wilson. Wilson and co-founding multi-instrumentalist John Teer join host Craig Havighurst for a retrospective conversation, featuring music from their past and present.

LISTEN: The Texas Gentlemen, “Skyway Streetcar”

Artist: The Texas Gentlemen
Hometown: Dallas, Texas
Song: “Skyway Streetcar”
Album: Floor It!!!
Release Date: July 17, 2020
Label: New West Records

In Their Words: “‘Skyway Streetcar’ is the first song Dan Creamer and I ever wrote together. It is still one of my favorites to play. It’s really the best example of our writing and lyrical trade-off style and vibe. Lyrically, we kinda looked at it as a way to live life to the fullest and get around doin’ so. Basically, a spacecraft of sorts you can use to get the best out of life.

“We had all just moved into a big house south of Dallas on Mona Lane. Later referred to often as ‘Mona.’ We were in the middle of cultivating Beatles songs and various other favorite covers to fill in for Daniel’s brother, who had to bail on a weekly residency at the Sundown at Granada. In the midst of this, we unknowingly started a band that was bound to be more than just a cover band. The musical chemistry that was building between Dan and I flowed into our own song ideas. With ‘Skyway Streetcar,’ I had the music all recorded in demo form, but one night we were laughing about what a casanova one of our pals and bandmates was at the time. That’s what inspired the line, ‘I’ve got a friend, goes from town to town, knocking ‘em up setting ‘em down, he used to really get around.’ The lyrics just grew from there.

“We had a studio in Mona and that is where the song was originally recorded just directly after writing it. For the next several years we continued to play it live. We had used that song as a jumping-off point to feel out any given studio. So this song technically was recorded about five times as we recorded in different studios before we ever took it to Echo Lab and did the final version with Matt Pence.” — Nik Lee of The Texas Gentlemen


Photo credit: Barbara FG

WATCH: Samantha Crain, “Garden Dove”

Artist: Samantha Crain
Hometown: Shawnee, Oklahoma
Song: “Garden Dove”
Album: A Small Death
Release Date: July 17, 2020
Label: Ramseur Records/Thirty Tigers and Real Kind Records/Communion

In Their Words: “With the idea in mind of being better for yourself and learning to love yourself, I started thinking about how much easier it was to connect with other people when you’re actually reveling in and enjoying your own company as well. It reminded me of a cult of friendship, sort of building this great web and community around myself. So, of course, I felt like I wanted to make a spooky Oklahoma backroads cult video for the song. I was inspired by Robert Weine and Hitchcock and wanted to make it feel real and high quality but also homemade in a way. I directed the video and did the costumes, my friend Blake Studdard did the camerawork and editing, my friends Nia and Izze (who were also in my ‘An Echo’ video) and Adam acted as my growing cult family. We filmed it on an extremely cold winter night on a dead-end street in Norman, Oklahoma.” — Samantha Crain


Photo credit: Dylan Johnson

Artist of the Month: Nathaniel Rateliff

One of the most powerful artists in roots music, Nathaniel Rateliff has a solo album coming out in just a couple weeks, and as a preview, he’s released a music video for the title track. The evocative video mirrors a song with a lot of weight and meaning behind it, a trademark of Rateliff’s style. A simple song — voice accompanied by galloping guitar and a swirl of ambient textures — “And It’s Still Alright” has a beckoning quality that is matched with a grainy film aesthetic, shot in black and white with a splash of washed-out color.

In 2019, Nathaniel Rateliff and the Night Sweats scored a platinum single with “S.O.B.” and a gold record for their self-titled album. Now the pieces are in place for the next installment of Rateliff’s music as And It’s Still Alright is slated for a Valentine’s Day release. Tour dates are filling in, including a stop at the Ryman Auditorium in Nashville, as well as multiple shows in New York City, Los Angeles, San Francisco, Toronto, and Minneapolis. His European tour kicks off in April.

To hold over the anticipation for the new record and our upcoming Artist of the Month coverage, enjoy our BGS Essentials playlist.


Photo credit: Rett Rogers

BGS Top Albums of 2018

This year, as we revisit the albums that resonated with each of us, we may not find a tidy, overarching message. However, the diversity herein — of style, content, aesthetic, format, genre, perspective, and background — demonstrates that our strength as a musical community, or zoomed-out even further, simply as humans, indeed comes from our differences. To us, these 10 albums are testaments to the beauty, inspiration, and perseverance we found in 2018.

Rayland Baxter, Wide Awake
His career-launching musical epiphanies happened on a retreat in Israel some years ago, so Rayland Baxter’s decision to isolate himself in a contemplative space to write Wide Awake had precedent. The venue this time was an abandoned rubber band factory in rural Kentucky where a friend was installing a new recording studio. In that quiet, Baxter wrote songs about the noisy world beyond the cornfields, with perspective on its tenderness and absurdity. Later in the studio, his posse set the deft verses to enveloping, neo-psychedelic, Americana rock. Social commentary doesn’t have to plod, as the Beatles proved, and Baxter is farming similar terrain with vibrant melodies, saucy beats and a voice that’s entirely his own. – Craig Havighurst


The Dead Tongues, Unsung Passage
I didn’t expect The Dead Tongues (aka Ryan Gustafson, guitarist for Hiss Golden Messenger and Phil Cook) to be my most-listened-to record of the year. But Unsung Passage is an album I find myself returning to again and again. The ten songs form a sort of travelogue for Gustafson, and you can hear the influences and rhythms of other cultures drifting throughout. It’s the rare record that’s both comforting and complex. –Amy Reitnouer Jacobs


Del McCoury Band, Del McCoury Still Sings Bluegrass
Named after his debut record, which was released fifty years prior, Del McCoury Still Sings Bluegrass seems like a painfully obvious, on the nose title for a record, but upon deeper inspection we realize that, because the album was built on his signature ear for songs and his unfaltering trust in his own taste, it is an immediately digestible statement of McCoury’s worldview. At this point in his long, diverse, uniquely successful career, most listeners would give Del a bluegrass authenticity “hall pass,” letting the more innovative, less bluegrass-normative moments herein by without a blink, but Del, from the outset, avoids letting himself fall into that paradigm. He chooses songs because, well, he likes them, and he doesn’t concern himself with what is or isn’t bluegrass, he just creates music that he enjoys to make with people he enjoys making it with. It’s a simple approach that may border on simplistic, but the result is a resoundingly bluegrass album that doesn’t concern itself with the validity of that genre designation at all. Which, after all, is bluegrass to a T. — Justin Hiltner


Jason Eady, I Travel On

Jason Eady, I Travel On
A fixture on the Texas touring scene, Jason Eady offered his most satisfying album yet with I Travel On. First off, he enlisted Rob Ickes and Trey Hensley for these sessions, giving the project a bluegrass groove with plenty of cool Dobro licks and guitar runs. Second, Eady wrote from the perspective of a man with some miles on him – the album title isn’t a coincidence, after all. His expressive country baritone is made for slice-of-life story songs like “Calaveras County” and “She Had to Run.” At other times, Eady looks inward, drawing on themes like mortality, gratitude and contentment. I Travel On may not be the most obvious album for a road trip but it’s certainly a worthwhile one. – Craig Shelburne


Erin Rae, Putting on Airs
Her velvety, maternal vocals and the subtle, understated alt-folk production vibes of Erin Rae’s Putting on Airs might initially disguise the millennial-reckoning being wrought through these songs and their topics; from top to bottom Rae’s brand, her musical identity, defies comparisons with any one era of music making and songwriting. Her talent oozes through her writing, her melodic hooks, and her musical and rhetorical fascinations, which together in this song sequence feel like they epitomize a microcosm that contains all of our generation’s — and this particular historical moment’s — angst, but without feeling simply capitalistic, opportunistic, or “on trend.” Instead, her viewpoint is decidedly personal, giving us a window into her own individual reckonings — with her own identity, with mental health, with family relationships, with being a young southerner in this modern era; the list is potentially endless, determined only by each listener’s willingness to curl up inside these songs and reckon along with Rae. Which is the recommended Putting on Airs listening strategy espoused by this writer. — Justin Hiltner


High Fidelity, Hills And Home
It’s in the nature of bluegrass to forever be casting backward looks at the giants of the music’s early years; nothing wrong with that, but when those who do it get aggressive about how they’re playing “real” bluegrass, well, that’s another story. High Fidelity’s eyes are firmly fixed on the musical past, but they’re also a modern, mixed-gender band who aren’t afraid to let their music do the talking — and what it says is that there’s a lot more variety, not to mention pure joy, in the under-appreciated gems of old than you might think. – Jon Weisberger


Angelique Kidjo, Remain in Light
It’s not simply a remake of the Talking Heads’ 1980 landmark, but a stunning reimagining by the visionary Benin-born artist Kidjo. She doesn’t merely repatriate (er, rematriate) the African influences that fueled TH’s revolutionary stream-of-consciousness masterpiece — which opened the door for many to discover the wealth of those inspirations — she considers and explores the worlds that have emerged in African music in the time since, all brought together via her singular talents and sensibilities. Remain in Light was arguably the album of the year for ’80, and so it may be again for ’18. – Steve Hochman


John Prine, The Tree of Forgiveness
No album this year brought me as much pure joy as John Prine’s latest. His first collection of new material in over a decade —which is way too long — The Tree of Forgiveness shows him in fine form, tossing out clever phrases and humorous asides that add to, rather than distract from, the low-level sadness thrumming through these songs. From the Buddy Holly bop of “I Have Met My Love Today” to the percolating existentialism of “Lonesome Friends of Science,” from the rapscallion reminiscences of “Egg & Daughter Nite, Lincoln, Nebraska, 1967 (Crazy Bone)” to the almost unbearable heartache of “Summer’s End,” every line and every word sounds purposeful and poignant, culminating with “When I Get to Heaven.” Prine sings about nine-mile-long cigarettes and bars filled with everyone you’ve ever loved, and it’s one of the most inviting visions of the afterlife set to tape. I hope he’ll save me a barstool. – Stephen Deusner


Jeff Tweedy, WARM
The album lives up to its name. Following last year’s quieter Together at Last project, Tweedy now hearkens back to his country punk roots from Uncle Tupelo, and makes a perfect accompaniment to his must-read autobiography, Let’s Go (So We Can Get Back). The new music reminds of his strength as a master songwriter and his place as one of the most tender and raw performers of a generation. It might have almost slid under the radar with its release at the end of November, but it definitely belongs on our year-end list. — Chris Jacobs


Marlon Williams, Make Way for Love
Mere seconds into hearing Marlon Williams croon the opening greeting of his song “Hello Miss Lonesome” in 2016, I knew I’d found a euphoric talent. After poring over his debut Dark Child, my greedy ears immediately wanted more, and this year finally brought that much-awaited second helping. On Make Way for Love, Williams moves away from the rootsy Americana that defined his first album, and leans into darker, baroque explorations that nod to Scott Walker and Roy Orbison in equal measure. Exploring heartbreak — from the puerile but pacing “Party Boy,” to the seething “I Know a Jeweller,” to the pitious “Love is a Terrible Thing”— Williams dips into the jagged crevices that naturally appear when the heart cracks wide open. – Amanda Wicks