Tag: AOTM

A Role Model and Mentor, Laurie Lewis Still Seeks Out Bluegrass Masters (Part 2 of 2)

Posted on by Editor

Laurie Lewis’ new album, and Laurie Lewis, is as much a tribute to her strong relationships as it is to her musical talents. Featuring old friends like Kathy Kallick, Todd Phillips, and Tom Rozum, and younger collaborators like Tatiana Hargreaves, Molly Tuttle, and Leah Wollenberg, her embrace of great friends and great music is on full display. In the second half of our conversation, the IBMA Award-winning artist talks about her history in the Bay Area, her aspirations and challenges, and the things that give her joy.

Editor’s Note: Read part one of our BGS Artist of the Month interview with Laurie Lewis.

BGS: Years ago, you and Kathy Kallick gave bluegrass a female voice. Were you conscious of breaking barriers at the time? And are you aware of what a model you are to women our age?

I appreciate that in hindsight. In the moment, we were just trying to make the best music we could make together, and we were both in a musical community in the Bay Area that didn’t have the barriers that the outside world had for women in bluegrass. We were doing what we wanted to do, what was fun for us. And not thinking that it was the most special thing or groundbreaking or ceiling-shattering stuff.

It was when I started performing more outside the Bay Area that I began to realize that what we had been doing was unusual. But at that point, I was just headstrong and I was just going to do what I wanted to do and not be stopped. I had disdain for festivals that would only book one girl bandleader at a festival, while they would book 12 male bandleaders at a festival. It pissed me off, but it didn’t stop me. And things are still a little bit like that — it’s amazing how slowly things change.

Did you set out to mentor young women?

Life for me just sort of unfolds, and I have to say I don’t set out to do these things in advance. I didn’t decide, “Now that I’m a wise older woman…” to mentor younger people. What actually started it was when younger people started showing up at music camps. I was a little afraid of that, because most music camps I had been doing were with adults. And I was a little afraid of my ability to relate to and coach young people.

When I was first asked to teach at a fiddle camp specifically for young people, I was sort of daunted by it. But the relationships that grew out of that camp have been incredibly important to me. Tatiana was there — she also went to Bluegrass at the Beach when she was like seven, that’s when we met. And Emily Mann, who wrote one of the songs I sang with Molly, was a preteen at that camp.

It has been a thrill to watch them blossom. It has been so gratifying to me. I don’t have children, and that’s a choice on my part, but I really appreciate them. I really enjoy hanging out with them and being able to have them in my life. I didn’t decide to focus on young women, but I suppose just because I am a woman, that has happened. People want role models – to see someone who’s like them. I am more like a young woman than I am like a teenage boy!

Any comments about being a role model?

Well, I feel very, very grateful that that’s happened. I’m really just trying to do the best I can do and play what’s in my heart and express myself in the best way I can, which seems to be through music. I am very gratified that people see me as a role model. I have a feeling of responsibility about that — so I better not fuck up.

Why is teaching important to you?

I get very excited teaching about things that excite me. Music excites me, and I want to spread the gospel. I am evangelistic about things like Chubby Wise’s fiddle playing, and how his solos are the bedrock of bluegrass fiddling. Singing harmonies, and how to work on making a vocal blend, are is endlessly fascinating to me, so I like a chance to talk about it and explore it with other people.

It also helps me, because when I am teaching I go back to the masters and I listen again to things maybe I haven’t listened to in 10 years. I always hear new things and I always learn myself. It keeps the music fresh for me in that way. It’s not just a one-way street. Teaching’s definitely a two-way street.

Do you want to talk about your shyness? You’ve said you are incredibly shy, and yet when you are on stage you fill auditoriums with your presence and your energy. How does that work?

I’ve certainly conquered a lot of my shyness. Shyness is really fear-based. You have to learn to face your fears. And in many, many instances, by facing them they just melt away. They are like a wraith. They just go away. I have learned that over the years. I used to be afraid to talk on the phone. It was so hard for me to call people up and just be a regular person on the phone and have a one-on-one conversation. I made myself do it. I made myself get on stage. I made myself open up to an audience. Sometimes it’s easier to open up to an audience than it is to open up to three people in the room with you. Strength in numbers when it comes to shyness.

I was really shy — and I’m not so shy any more. I still very seldom will talk to strangers. I told Tom yesterday that I was on a hike, and I met this young man and we talked a whole lot (this guy was named after Superman’s father, Jor-El). Tom said, “How did you start talking to him?” And I said, “I don’t know, it was a beautiful day….” and Tom said, “This is so unlike you.” It is unlike me that I would talk to a stranger, but we had a very great conversation. It turns out we were both born in Long Beach, we have a lot in common. … I’m still breaking down my barriers. By the time I’m 90 I’ll be talking to anybody and everybody. You won’t be able to shut me up.

How is today feeling for you? You have this great new album – and the world is upside down.

It’s frustrating, but — it’s just my own little personal problem. It’s really too bad, but so many people are suffering so much right now. I don’t have it in me to be all upset about it being a bad time for me. The album will still be here, the music will still be here when the virus has run its course. The virus is not going to kill my music.

How are you keeping your spirits up?

I go up into the hills and I walk. And right now it’s springtime, it is so beautiful. The world is just so gorgeous. There are wildflowers everywhere. If you can get out into nature, it is the most healing balm that I know of, and that’s what works for me. It makes the human problems seem so small, and it connects me to the universe. It takes me outside of myself.

What’s next for you?

I’m loving playing with the current Right Hands configuration: Brandon Godman on fiddle, Patrick Sauber on banjo and Haselden Ciaccio on bass (along with Tom). We’ve been planning a new album. We’ve got so many things we’re cooking up: new songs and old stuff that we’ve been doing. I feel like we need to have a record of how we sound together.

Do you have a special goal, something that you want to achieve that you haven’t done before? 

I would really love it if other people would sing some of my songs and make them part of the folk tradition. That would thrill me more than anything. I would like to get interviewed by Terry Gross. That would be pretty great! Of course, because I’ve been doing this for so long I would like to get broader recognition, but I’m fine with things the way they are. But mostly I’m just very, very grateful that I get to do what I want to do. I can put together a life out of it and I can keep playing. I’m in my 70th year. I just feel lucky.

Photo credit: Jeff Fasano

On New Duet Album, Laurie Lewis Gathers Old Friends and Close Companions (Part 1 of 2)

Posted on by Editor

Laurie Lewis has lived most of her life in Berkeley, California, yet she’s primarily associated with music from Appalachia. A highly respected producer, she is admired equally for her singing, songwriting, fiddling and arranging, and her influences range from old-time and bluegrass to swing and jazz.

In 1986, Lewis released her first solo album, Restless Rambling Heart, which included seven original songs. Since then, she has recorded more than 20 albums with a variety of musical friends. She holds numerous honors from the International Bluegrass Music Association, as well as Grammy nominations for her own albums and collaborations.

Now nearly 35 years into her career, Lewis regularly pays tribute to female bluegrass pioneers, performs with and fosters a new generation of female musicians, and teaches at many of the nation’s most acclaimed music camps. BGS caught up with her by phone to discuss her new duet album, and Laurie Lewis, featuring old friends and new musical partners alike.

BGS: Why a duet album?

Lewis: It came about accidentally. I had an idea that I wanted to record a duet on (the Carter Family song) “You are My Flower.” Molly Tuttle and I got together to try it out and we had so much fun playing and singing that we went upstairs to my little studio. We turned on the microphones and just sang and played. It was so musically full, it didn’t need anything else. I thought, “Thank heavens, I have finally gotten around to singing this duet the way I’d wanted to for the last 20 or 30 years.” Then I got together with Tatiana Hargreaves. When we toured together, she and I worked up a tune I had written that she played on the fiddle, and I just loved that and I wanted to capture that. Then we got excited and did another song – and then I had three songs! I thought, “Maybe I’m making a duet album.”

Tom Rozum and I had worked out the Monroe Brothers’ version of “Will the Circle be Unbroken” for a Monroe tribute, and I just loved the way that sounded, and I thought we definitely should record that. It snowballed from there. I had lots of duet ideas where I thought a particular friend would be perfect on a particular song. So I went about collecting the versions of the songs. I recorded more things than are on the album. I have a few that are held back, just because I didn’t want it to be super-long and have people lose interest halfway through thinking they would never get to the end!

How did you decide to keep the instrumentation so spare – no more than two voices and two instruments?

After listening to what I recorded with Molly and Tati, I really liked what I heard. I fell in love with playing as a duet with Tom. We’re both essentially band musicians and used to having a whole band surrounding us, not just picking up the slack, but filling out the sound. When we started playing as a duo many years ago, it seemed really scary to both of us – and really empty. But we kept doing it, and I fell in love with the emptiness, that loose weave that you get with just two people and two instruments. And the way it becomes a conversation – my favorite way to have a conversation, just one on one.

How did you choose your partners and songs?

They’re all people who I have had long musical relationships or long friendships with. I’ve known Molly and Leah Wollenberg since they were babies. As the project went on, it felt as if these are some of my closest companions in life. These are the core people who have made a huge difference to my musical life in one way or the other

One of the last things I recorded for the album was “Old Friend” with Kathy Kallick. As the album started to take shape, I realized, “Oh my God, I have to have Kathy on here.” We have been singing partners and friends for more than 40 years. I just have to have her on here. But I couldn’t think of a song. The idea came to me as I was backpacking in the mountains: “‘Old Friend,’ of course!” It was recorded originally in 1989 and we’ve been friends much longer. It seemed like the perfect vehicle for us at this point.

Do you write specifically for an album, or do you just come up with songs, say, when you’re hiking, and then it shows up on an album?

Yes. I would say yes to both of those. For instance, I never expected “The Pika Song” [to end up] on the new album. I was just making up a little poem about pikas when I was hiking on the John Muir Trail. And then I was sitting around playing the banjo one day and I started singing it. When I mentioned it to Tatiana, she told me that some friend had just said that she thought the pika was [a perfect animal to match] Tati. She got really excited – she’d never seen one, but she got to hear all about them and play on the song and sing about them, so that was pretty fun.

Sometimes I will write things specifically for a group or for an album. I have lots of songs that I just don’t finish and sometimes the impetus of recording an album is what pushes me to commit to being done. So in that way I do write for albums. And sometimes just because the creative juices start flowing when you’re in a recording situation, a new song just comes along. And I’m grateful for that.

Did you choose songs that represented your own versatility?

Oh, no. I didn’t think about that. I really just thought about who was the right person to sing with on a particular song. Like the songs I did with Nina Gerber. There is nobody I would rather do certain songs with than Nina Gerber. “My Last Go Round” is a Rosalie Sorrels song. Nina worked closely with Rosalie and I got to play with her a few times. I recorded that song on a tribute album for Rosalie, and when we played the tribute concert, I played it for the first time with Nina. It felt so deep and healing. Music has a real way of being able to soothe and heal grief, and it really felt good to do it with her, and we’ve been doing it every time we play together since then. Nina’s electric guitar is the absolute perfect thing for “This is Our Home.” She fell right into it, just knew exactly what to play. She’s a mind reader.

Todd Phillips and I occasionally play “Baby, That Sure Would Go Good” in concert. We did it for years, but I never thought about recording it. When suddenly I was doing a duet album, I thought it would be perfect. And of course it was really fun. Todd’s bass playing is just out of this world. I mean that in every way you can think of. It’s crazy, but it’s great.

Tell us about “Troubled Times,” which is so appropriate right now. When you wrote it, were you thinking of something specific?

I wrote that about 20 years ago. I honestly cannot remember what inspired me to write it. It had some other verses, at least one other verse which I left out, because it wasn’t as good as the ones I used. I think it was politically motivated at the time, motivated to the outside world and my reaction to what was going on, but I can’t remember what specific event or events inspired it.

I had only performed with Leah Wollenberg once, at the Freight & Salvage, although I’ve known her all her life. One day I said to her, “Would you come over and sing one of my songs with me so I would have a recording of it”? I really didn’t know how it would go. So she came over and we recorded it. When I listened to it I said, “This is good! This is great!” So I asked her if she would be on the album. I think that I’ve just been sitting on that song waiting for the right combination of events, but also the right combination of voices to sing it with me.

Can you talk about the role of friendship in your music? You sustain such long-term friendships and musical partnerships. Is that unique to you?

I don’t think that’s unique to me. Musicians communicate very deeply through shared music. It’s impossible to play heartfelt music with other people without loving them, or at least learning to love them. And once you love somebody, you want to keep them in your life. So if there’s a problem, you work it out. You address it. You don’t let things go by and be on the surface. It’s what we do — we forge personal relationships that are strengthened through music, or are begun through music and continue past music.

Editor’s Note: Read part two of our Artist of the Month interview with Laurie Lewis.

Photo credit: Maria Camillo

Artist of the Month: Laurie Lewis

Posted on by Editor

Generously sharing her gifts as a fiddler, singer, and songwriter, Grammy nominee Laurie Lewis has remained a beacon on the West Coast bluegrass landscape for more than 30 years. While she’s considered a seminal figure for women in bluegrass, today she’s creating music that’s just as vital as her acclaimed albums of the ’80s, ’90s, and early 2000s.

For her newest album, and Laurie Lewis, she gathers a new generation of admirers and longtime cohorts alike for a mix of covers and originals that draw on her folk and bluegrass roots.

“There are things that you can communicate musically together, which are hard to put into words,” she has said. “To have those conversations with people I love and who have been so significant throughout my career is a beautiful thing.”

An IBMA Award-winning vocalist and an advocate for equality, Lewis possesses a compelling voice that commands attention.  Read our two-part interview with our May Artist of the Month, Laurie Lewis, here: Part one. Part two. And while you do, enjoy our Essentials playlist.

Photo credit: Jeff Fasano

Sean Watkins Heeds Good Advice (or Not) on Watkins Family Hour’s Second Album

Posted on by Editor

For brother sister, Watkins Family Hour’s sophomore album and first in five years, Sara and Sean Watkins decided to tighten their focus, writing songs that allowed them to shine as a duo. “It was an experiment, and it ended up being so fun and totally different from the first Watkins Family Hour record we did,” Sean says. “In this case, more than any other project, we were very deliberate about the style of the songs, how they came together, and how we recorded them.”

The effort paid off. Ringing in at ten tracks, including seven originals, brother sister ranges from glittering, harmony-driven folk (opener “The Cure”) to can’t-help-but-dance silliness (“Keep It Clean,” a Charley Jordan featuring vocals from David Garza, Gaby Moreno, and John C. Reilly). We caught up with Sara and Sean individually, chatting about the album and the forces in their careers that built them, including their early years with Nickel Creek. Read our Artist of the Month interview with Sean below, and catch Sara’s interview here.

BGS: You wrote a good portion of “Fake Badge, Real Gun” before you brought the idea to Sara. What inspired it?

Sean Watkins: I have a folder in my notes on my phone, Future Song Titles. I like to think about what a good song title is — you know, when you see a song title on a record and you’re like, “Oh, I really want to know, I want to hear that song.” A book title can be the same way. I heard the term “Fake Badge, Real Gun” in a hotel room on some kind of local news station. It was a headline, probably a story about a kid, or somebody who was pretending to be a police officer. When I heard that phrase, I put it in my phone, because I just thought, “There’s a lot more in there to be explored.”

There are plenty of people in power who don’t deserve to be. They have the power to destroy and create a lot of chaos, but they didn’t really earn it, or they don’t deserve to be there for one reason or another. Everybody comes into contact with authorities who affect you in profound ways, especially when you’re younger, without knowing how they’re affecting you negatively. At a certain age you get to a point where you unpack your childhood — what your teachers taught you, what you heard in church or what you heard in college — and you have to look at it objectively and figure out who gave you that advice, what they were meaning to get across, and whether you still believe it.

Did anything in your life specifically come to mind?

I went to a Baptist Christian school for a while. It wasn’t because my family was Baptist, but because it was the closest private school, and my parents were public school teachers and didn’t really like the way public school was going. The teachers were pretty strict, evangelical, and I remember this girl who was probably in seventh or eighth grade. She had a great voice, and she got vocal nodes on her vocal chords — it’s just something that happens when you don’t use the right singing technique. It happens to a lot of people. But she asked our Bible teacher, “Do you think God gave me these vocal nodes because I’ve been singing secular music?” I think she’d sang an Oasis song at a coffee shop or something.

And the teacher said, “Yeah, that’s probably why.” Like, in all seriousness, he told her that, because she sang a secular song, God gave her these vocal nodes. And he believed it! But who knows how long that stuck with her, that by singing a certain kind of song God will strike you. You can carry that with you for the rest of your life, whether you know it or not. So I try to think about that in my life: What are the things that I’m carrying around that I don’t need to carry around, because someone who had authority used their “gun” in a way that was, looking back, absolutely wrong? You can take the idea out to any number of places in the world.

The cover of the Charley Jordan song is so fun — what a way to end the record. Can you tell me about deciding to cover “Keep It Clean”?

A few weeks before going into the studio, and we were taking inventory of what we had, what kinds of things might be fun to add to the record, what was missing. We just thought it’d be fun to have one song that’s just a party song: what people know the Family Hour to be, which is kind of a wild, fun ruckus; a song that’s easy for anyone to jump in on, with different people singing verses. Something that sounds like what we do when we play our shows [in Los Angeles] at Largo.

Originally I heard this song when I did a month of shows with Lyle Lovett, playing in his band years ago filling in for a friend of mine who played guitar with him. He did that song every night, but totally different: His version was a bouncy, Texas-swing kind of vibe. I really liked it, and I asked him where it came from. He said it was a Charley Jordan song, but that he’d changed it a lot, and that I should check out the original. It’s so funny because it’s such an old song, but it has such a beautiful, almost current pop melody to it. The guitar line in the original version sounds like a Beach Boys melody. It doesn’t sound like ‘20s blues at all, and I thought that was a really cool element of it. So we based our version on that, although it evolved and sounds very different.

Another thing I like about it is that the lyrics are just quirky and weird; you can’t really tell what they are. The verses were based on popular off-color jokes at the time. So people hearing the song back then would have gotten these references that we’re not getting right now. [Laughs] And they might just be really dumb jokes! It’s like a museum piece. I thought it was so cool.

It’s been twenty years since Nickel Creek released its self-titled, breakout album. How do you feel like the success you had then influenced the way Americana and bluegrass are perceived now, or influenced the player you are now?

Every seven or ten years it seems like there’s a recurrence of some kind of music, and at that time, there was a confluence of things that happened that brought acoustic music way more to the forefront. A big one of those was the O Brother, Where Art Thou? soundtrack: a soundtrack for a movie that sells millions and millions of records, and is mostly old-time bluegrass, that’s a big deal. Alison Krauss was the only one selling millions of records playing anything related to bluegrass, and she wasn’t playing very traditional music. So that record came out, and Alison was — still is — just cranking away, hugely popular. We kind of got lumped in with all of that. People thought we were on the soundtrack a lot, which we weren’t. [Laughs]

There was just a wave. We have to give Alison credit because she saw the potential in what we could do. That first record is a very different record than we wanted it to be. We were so young, so green. We wanted to make a much more wild and aggressive type of record, and she was like, “Listen, that’s fine for your live shows. But it’s not gonna wear well. It’s going to be exciting to listen to the first couple of times, but people aren’t gonna want to listen to it a year from now — you’re not gonna want to listen to it a year from now.” She was really wise in restraining us in a lot of ways that we wouldn’t have.

Do you still take that advice to heart when you’re recording?

Absolutely. I have a mental bag of tricks that I’ve collected from different people over the years. A lot of the great producers will say something that really sticks with you, and it’s immediately like, “I’m gonna remember that and apply it the rest of my life.” I remember being in the studio one time for something that T-Bone Burnett was producing. We were in the control room, and he was musing and talking about the creative process, and he said, “People think about writing songs like writing songs. Don’t think about it that way. Think about writing a feeling. Like when you’re writing a movie, you’re writing a story. When you’re writing a song, just write a feeling — don’t write a song.” I was like, “That is soooo great.” Because that’s exactly what it is! A song’s supposed to make you feel something.

(Read our interview with Sara Watkins here.)

Photo credit: Jacob Boll

Artist of the Month: Watkins Family Hour

Posted on by Editor

Sean Watkins and Sara Watkins have factored into some of the most accomplished and creative ensembles of the last two decades, while building a cool catalog of their own solo albums, too. Familiar to many as co-founders of Nickel Creek (with Chris Thile), the California siblings are once again teaming up as a duo for brother sister, their second album as Watkins Family Hour.

“From the beginning, our goal was to work on these songs to be as strong as they could be, just the two of us,” Sara says. “And with a few exceptions on the record, that’s really how things were. It was a tight little group of us, working dense days where we could squeeze them in.”

Sara won a Grammy earlier this year for “Call My Name” as a member of I’m With Her (with Aoife O’Donovan and Sarah Jarosz). In addition to producing, Sean has recorded with collectives such as Fiction Family, Mutual Admiration Society, and Works Progress Administration. Their appearances at the Los Angeles club Largo have inspired a number of impromptu collaborations on stage as well. Together, however, the siblings make a powerful unit, capturing a band sound with essentially two people — but incorporating a fresh perspective through producer Mike Viola.

“Mike brings a diverse musical history to his production work,” Sean says. “He’s worked with a lot of people [from The Figgs to Fall Out Boy] that surpass just bluegrass or folk, but his sense of the songwriting craft and melody is right in line with us. He was bringing ideas that we would have never had, and vice versa.”

Enjoy new tracks from Watkins Family Hour in our BGS Essentials playlist, plus choice cuts from throughout their brilliant careers.

Our Artist of the Month interviews are here! (Read part one here. Read part two here.)

Photo credit: Jacob Boll

WATCH: The Secret Sisters Welcome Solace of Spring with “Late Bloomer”

Posted on by Justin Hiltner

With spring just arriving, our BGS Artist of the Month has just given us a seasonal freshen-up with a lovely new release. Siblings Laura Rogers and Lydia Slagle, known as The Secret Sisters, released their latest album, Saturn Return, at the end of February. The new record was produced by Brandi Carlile along with Phil and Tim Hanseroth and was released on New West Records.

“Late Bloomer” and its accompanying video have the same glow that an old photo album or a home-cooked meal with your family might have: welcoming, heart-warming, and encouraging. The message of the song is one of affirmation and reassurance, reiterating that everyone’s story is different and every path is unique. For a peak into what Saturn Return holds, watch the Secret Sisters’ touching music video for “Late Bloomer,” a spring of solace for those who feel the familiar impulse to compare and pass judgment on their own experience.

Photo credit: Alysse Gafkjen

The Secret Sisters’ Lydia Slagle: Good People With Great Purpose (Part 2 of 2)

Posted on by Editor

Hearing the Secret Sisters sing captivates you immediately. Known best for their entrancing harmonies, the Alabama-born artists write songs about everyday hardships and headline-grabbing injustices, with a balance of poetry and punch in every lyric. It’s made fast fans of many, including Brandi Carlile, who called sisters Lydia Slagle and Laura Rogers in 2015 and offered to produce their next record, 2017’s You Don’t Own Me Anymore.

On the new Saturn Return, co-produced by Carlile and Phil and Tim Hanseroth, the duo expands beyond their well-known harmonies by exploring the previously untapped power that their voices have solo, recording many segments separately for the first time in their decade-long career. In a nod to that milestone, BGS spoke to each sister individually in advance of the album’s release. Here, Lydia Slagle talks about Carlile’s strength as a producer, finding hope despite hardship, and the distinct pride in being a late bloomer.

Tell me about your upbringing and your first memories with music.

We’re from rural Northwest Alabama. We grew up running through the woods and making forts and playing in the creek. We spent a lot of time outside with our cousins, and it was really family-oriented. Our dad is in a bluegrass band, so we were going to bluegrass festivals every Saturday. We went to church every Sunday, and the church that we grew up in was all congregational. Everybody sang together, so from a very early age, you had to learn to sing harmony.

You were the main writer on “Late Bloomer,” one of my favorite tracks from Saturn Return. Has anything ever made you feel like a late bloomer? How did you reframe that feeling with the positivity we hear in the song?

I’ve always felt a little bit behind. People in my grade, or my age… I always felt like they got there before I did. Part of that is being a Southern woman. I think that we are a little more pressured to have children faster, or get married at an earlier age. Even though I’d been all around the world, I still felt that pressure — I still felt behind. When I wrote “Late Bloomer,” my husband and I had been trying for a baby for almost a year. That particular day, I was just really frustrated with the whole situation. I thought, of course, this happens to me. I’ve been behind in every other aspect of my life, so of course I’m gonna be last for this, too — which sounds dramatic, I know…

No, it sounds… relatable.

Well, it was September, and I was at the piano looking out the window. I had been told that March or April was when I should hang my hummingbird feeders, because that’s when they’d come to the house. And I had not seen a hummingbird all year until the day I wrote this song. It made me start thinking about that aspect differently: they’re late coming to the party, so it’s OK for me to be, too. It’s OK to feel behind. Whatever timeline you set for yourself, it doesn’t matter, because we’re all on our own path. It was a really encouraging way to look at it. I’ve tried to look at it like that ever since.

Brandi Carlile produced your third album, You Don’t Own Me Anymore, and you chose to work with her again on Saturn Return. What made her the right person to produce this album?

We had a lot of fun with our third record. Not that we didn’t with our others, but we were so serious in the beginning, so concerned with being perfect, with having every note be exactly right. With the third record, we were this big family, just playing music together, just jamming. We really wanted to have that same experience again with the fourth record, especially because we had gone through some stuff before this record that was really hard. I was struggling with infertility; I didn’t really understand what was going to happen with our careers. We needed the positivity that Brandi tends to bring to a situation. She always helps us remember that we do this for a reason — and that we’re good at it. It was a really great communal effort, and I would say we were more comrades this time around. It felt like a bunch of friends playing together.

She recommended you and Laura record your vocals separately for the first time ever. What was going through your mind, from the first time you tried it to when you heard it played back?

It felt like an out-of-body experience in so many ways, just because we were so used to singing at the same time, into the same mic. So it was a new, refreshing experience to remember that we are separate people, with our own voices and our own things to say. That’s what Brandi is so good at doing — helping us remember what our talents are. It was a really important part of this recording process itself: finding our own voices and being who we are separately, but still being a band; and learning how to still sing together, even when we have our own perspectives to draw from.

As the album’s closing track, “Healer in the Sky” has a deeply spiritual and peaceful theme — a message of hope. Through the making of this record, what’s something that made you feel hopeful?

Even though we were on separate paths, Laura and I, there was a common thread going through our situations when we were recording. We were kind of settling into adulthood. Our grandmothers had just passed away within a week of each other, and we could see that our parents are getting older and going through health issues. We were both at a time in our lives when we were trying to reconcile things that don’t seem fair, seeing how other people around us have struggled. The reality of adulthood had set in, and you can hear that in a lot of the songs on the record.

But what gives us hope is that we’re people of faith. You do hear it especially on “Healer in the Sky” — we try to remember that we have a bigger hope, and we have a reason for why we do this. It’s easy to get ‘in our heads’ about things that seem hard at the time, but when you look at the grand scheme of things, those things are usually actually pretty petty. So for us, it’s been important to remember our purpose, and to just try to be good people along the way. That’s all that really matters.

Read the first part of our Artist of the Month interview with the Secret Sisters’ Laura Rogers.

Photo credit: Alysse Gafkjen

The Secret Sisters’ Laura Rogers: From Separation to ‘Saturn Return’ (Part 1 of 2)

Posted on by Editor

Laura Rogers and Lydia Slagle are best known for doing things together. As sisters, they’ve celebrated birthdays, graduations, and many more of life’s big milestones together. As the Secret Sisters, they’ve made a name for themselves singing together, with intuitive harmonies that lend a honeyed sheen to folk tunes, country anthems, and the occasional murder ballad, too. But for their latest album, Saturn Return, the duo tried things a little differently.

At the suggestion of Brandi Carlile (who co-produced Saturn Return with twins Tim and Phil Hanseroth), Laura and Lydia recorded their vocals separately for the first time, integrating lengthy solo segments in addition to their trademark harmonies. The resulting record reveals two women at the top of their crafts, reveling in their independence while cherishing the inimitable depth of their voices together.

In tribute to their recording individually for the first time, BGS spoke to each sister separately, too. In part one of our Artist of the Month interviews, Laura talks about the influence of her hometown, self-inflicted career pressure, and how Carlile introduced the sisters to new sides of themselves — both individually and as a group.

BGS: You sang separately from your sister on this album for the first time. What did that feel like at first, and how did your feelings about it evolve?

Laura Rogers: I was very uncomfortable about it at first. I play off of Lydia, and I choose my notes based on what Lydia chooses. We read each other so closely when we sing together. Singing without her felt like driving a car for the first time without your parent in there. But when Lydia sang by herself, even though I know she was uncomfortable, I sat there listening to her and thinking, She is so good. She’s so good. I remember thinking about how glad I was that her voice was finally going to get a chance to be heard without mine, because her voice has so much beauty to it.

I thought, It’s time for people to hear what Lydia sounds like without me distracting them. But I was super scared to sing by my self, just because I … Well, I just don’t feel like I sing as well without Lydia. I’m more critical of myself, and I don’t have her to kind of pick up the slack that I need. [Laughs] So in the moment, I remember thinking, I don’t know if this is the right thing. How are we going to pull it off live? But then of course, after the record was done, we would listen back to it, and Brandi’s theory about it was so… right. And so beautiful.

How so?

While we were recording, Lydia and I really were in really separate places for the first time in our lives. I was pregnant and Lydia was trying to get pregnant. We felt this chasm, the two of us. We felt like we were in different places. Brandi could see that, in her bird’s-eye view of our circle. She knew that she needed to capture that moment.

Lo and behold, a few months later, we found out that Lydia was pregnant too, and we were back on another path together. We had been separate for only a moment. So I’m really thankful. I feel like Brandi is a really good photographer who caught the perfect moment with the perfect light and the perfect ambiance — this really special moment that will never come again.

You’ve recorded murder ballads and darker songs, and “Cabin” on this record — which you’ve said grew out of coverage on the Kavanaugh hearings — touches on a crime that was never brought to justice. What are the challenges and nuances you have to consider when broaching topics like those?

That’s a good question. “Cabin” can really be about a pretty broad range of crime. But we were specifically writing about sexual crime: abuse, harassment, and mistreatment of people by those in places of power. We had a message that we wanted to convey, but it felt like we had to tiptoe around some things to try to avoid any sort of heavy political slant.

Lydia and I are not political songwriters. We just aren’t, and don’t want to be. But there are certain elements of that that do come up in our writing that we feel like we have to kind of carefully craft in order to express ourselves, but not isolate. That’s also true with murder ballads. It is a sensitive subject matter, and our protection — up until we wrote “Cabin” — was the fact that those songs that we had written were mostly fiction.

When [our songs] talk about getting your heart broken, or going through bankruptcy, or being done wrong by someone who is supposed to be your friend, those are actually based in truth. We would never specifically mention anyone by name, but if they hear the song, they’ll know that we’re talking to them. If you feel like we’re singing to you, we are.

That’s the way that we view our music — as therapy. The murder ballads have always been about us challenging ourselves to write songs about things that we didn’t experience. On the flip side of that coin, there are a lot of songs that we went through firsthand and had to process through writing.

You sing about the push-pull of success in “Nowhere Baby.” What does that song mean to you, and how do you fight back against the low moments?

I hope that people can find their own story in a song like that. For us, “Nowhere Baby” is about constantly feeling like we’re arm wrestling the music industry; feeling the need to say yes to everything that comes along, because you’re afraid that if you say no you’re going to set yourself back or miss an opportunity; feeling like you need to prove yourself. As artists, creative souls, and women, sometimes we put that on ourselves. We make these ridiculous schedules that we think we have to stick to. “If we don’t go do this show, what’s gonna happen? Are we gonna miss something that could be really important, could get us to the next level?”

We are so hard on ourselves about our careers. We love music, and we love that we’ve gotten to make a lifestyle of playing our songs on the road, but it’s a hard life. You sacrifice more than people on the outside ever realize. You miss the birthday celebrations and the holiday events. Through experience in the ten years that we’ve been on the road, we’ve learned that it’s OK if you need to just be a person for a minute. It’s OK if you want to just sit at home for a few weeks. Nobody’s gonna forget about you, you’re not going to lose your edge.

You’re from just outside of Florence, Alabama, and started singing harmonies with your sister at church. Did your hometown have any impact on the artist you are today?

Oh yes, 100 percent. We grew up pretty close to Muscle Shoals, which is obviously a legendary place for music. But we weren’t exposed to the music of Muscle Shoals as much as you might think. We listened to more folk music, bluegrass, gospel, and country. And where we are geographically had influence on us as musicians — I mean, it’s this weird little place that’s so perfectly located. It’s close to Nashville, so you get the country music influence. It’s close to Memphis, so you get a little bit of the blues. It’s close to the mountains, so you get some Appalachian music. You get gospel music, because we’re in the middle of the Bible Belt. It’s this perfect spot where these little genres of roots music all began.

I think living in a rural place, and growing up where there isn’t a lot to do other than hang out with your family or do sports or play music, is why we are the way that we are, and why we’ve become the musicians that we’ve become. We are so spiritually tied to our hometown. When I leave, I become a different person, and it’s almost like I have to go back to regroup and establish myself again. I come home and I’m like, oh, that’s who I am. [Laughs] I may get to go to all these great places, but when I come back, I’ve still got to scoop up chicken poop off my porch.

Read our interview with Lydia Slagle here.

Photo credit: Alysse Gafkjen

Artist of the Month: The Secret Sisters

Posted on by Editor

The secret is out, as the Secret Sisters have finally issued their newest album, Saturn Return. Time is a through line of the project, heard in songs like “Late Bloomer,” as well as the album title, which is an astrological reference to Saturn returning to the same location in the sky as it was when you were born. Motherhood also informs the music, as sisters Lydia and Laura Rogers were new mothers at the time, but also grieving the recent loss of their grandmothers.

Produced by Brandi Carlile and Phil and Tim Hanseroth (aka “The Twins”), Saturn Return positions the sisters as solo vocalists to some degree, as both Lydia and Laura recorded separately for the first time. And in contrast to their other albums, they wrote all of the material here themselves. A sweet celebration of the women who came before them can be found in the opening track, “Silver,” while the final track, “Healer in the Sky” is poignant, vivid, and simply beautiful.

Look for a two-part interview with the Secret Sisters — our BGS Artist of the Month for March — in the weeks ahead. (Read part one here. Read part two here.) In the meantime, enjoy our Essentials playlist, comprising choice covers (including one of Carlile’s songs), rare and interesting collaborations, and new music you’ll want to hear from Saturn Return.

Photo credit: Alysse Gafkjen

On Tour, Nathaniel Rateliff Wants to Create an Experience (Part 2 of 2)

Posted on by Editor

Nathaniel Rateliff’s And It’s Still Alright marks his first full-length solo release in seven years and grapples not just with the loss of a romantic relationship, but with the unexpected passing of his friend and collaborator Richard Swift, with whom he had planned to record it.

In this portion of our conversation, we discuss Rateliff’s songwriting on And It’s Still Alright — which ventures further into vulnerable, introspective territory than did his previous work with his band the Night Sweats — as well as his time in the studio and how he plans to bring these songs to life on his solo tour, which runs through the summer.

Read the first part of our BGS interview with Nathaniel Rateliff.

BGS: Given the way “And It’s Still Alright” came out, you mentioned earlier that “All or Nothing” began with a chord progression. Do you have a songwriting process you typically follow, or does the creation look different each time?

Rateliff: It’s really song-to-song. It always seems to change for me. “All or Nothing,” with that song in particular I really wasn’t trying to write a song. This progression had come up and I played it at a bunch of different tempos. It reminded me of the Eddy Arnold song, “Anytime.” It has this Western-swing progression to it, and I really liked it. Then I started playing these jazzier chords I had learned that I wouldn’t play with the Night Sweats and it turned into a song eventually.

I had a handful of different words to it. As I remember, at one point the chorus was like, “I got heavy shoulders but I’m not blue.” It didn’t really make sense. [Laughs] That turned into, “I got all this and nothing, too.” So it really does vary. That song was a chord progression that a vocal melody kind of came out of. And sometimes I’ll start with a vocal melody or a phrase and write music around all of that.

“And It’s Still Alright,” the original idea was me sitting in a hotel playing guitar by myself. Richard and I went and saw Tom Petty together. The way [Petty’s] song structure was, you start with a massive chorus and it goes into a verse that’s an even bigger chorus and it’s hook after hook after hook. One of my buddies was listening to “And It’s Still Alright” and he’s like, “Yeah, it’s kind of like it’s only bridges. There’s no chorus.” But there’s something interesting about it, since it doesn’t have a traditional hook.

You mentioned the time you all spent in the studio together. It sounds like you had a great group of players and collaborators who were able to join you. What do you look for in a collaborator, and what is it about a musical partnership with someone that feels right to you?

Even in the beginning, when the first Night Sweats records started, I had grown weary of being the traveling singer/songwriter troubadour kind of guy. I was really over playing acoustic guitar for a little bit. So I was making these demos in my attic, then I shared them with Richard and we decided to make a record. I brought Patrick Meese out with me, because I knew we could both play multiple instruments and that we’re pretty good at not getting our feelings hurt when advising each other about portions of the songs.

Sometimes you have something you think is a great idea and it just doesn’t work; being able to work with somebody who isn’t overly sensitive about that stuff is really helpful. You don’t want to have this unspoken tension or this idea that someone is musically picking on you when they don’t like your ideas… The biggest thing is being able to be in the studio with somebody where there is this element of seriousness in approaching it as work and respecting it as a craft, but there’s another side of it where you have to lighten up and have a good time.

Yeah, if you aren’t having fun, what’s the point of doing it at all?

Exactly. I hear stories of people who are like, “Oh, they got that on the 70th-something-odd take,” and it’s like, “Fuck that!” If we’re not getting it in the first two or three, we’re probably screwing something up.

With the Night Sweats, of course, you were releasing music via Stax, but this is your first solo release you’ve been able to do with the label. Given the label’s history, what does it mean to you to be able to work with them, and what has spending the last several years of your career with them opened up for you creatively?

With the Night Sweats stuff it was like, well, the sound I’m really trying to come up with is influenced by Sam & Dave. My original idea for the Night Sweats was, I wanted to have the feel of when the band would play R&B songs like “Don’t Do It.” Their sort of gritty, funky, but slightly Southern feel and approach to the songs — swamp rock, I guess. But then also have these harmonies, like the Sam & Dave harmonies, with these big, powerful voices. Then I wanted everyone in the band to be working for the song. I wanted it to be a sweaty revival.

Originally I was signed to Rounder and got dropped when Concord kind of took over. Then I eventually got signed by the parent company, Concord, and when I found out they worked with Stax, I was like, “Is there any way we can put this out with Stax?” We shared the record with them and that started our journey together. To me, Stax is such an important part of the community in Memphis and part of the thing I love about music is how it’s a community-builder. We really need that nowadays. We need to be more in touch with the people around us and be more understanding and more caring overall. Also, just that roster; it’s all the greats. It hits me when I look at it. It’s pretty amazing.

It sounds like the tour will really showcase several different sides of you as a musician and as a performer. What are you most looking forward to about getting on the road and getting to play these new songs live?

We’re really trying to create an experience. The other thing, too, since it’s mostly the Night Sweats guys in this band, it’s fun to be able to show people, in pulling these songs off live, that we’re really creating and playing whatever type of music that appeals to us at any given time. Hopefully that will make us look like we’re not just a one-trick pony.