Carolina Calling, Greensboro: the Crossroads of Carolina

Known as the Gate City, Greensboro, North Carolina is a transitional town: hub of the Piedmont between the mountain high country to the west and coastal Sandhill Plains to the east, and a city defined by the people who have come, gone, and passed through over the years. As a crossroads location, it has long been a way station for many endeavors, including touring musicians – from the likes of the Rolling Stones and Jimi Hendrix at the Greensboro Coliseum, the state’s largest indoor arena, to James Brown and Otis Redding at clubs like the El Rocco on the Chitlin’ Circuit. Throw in the country and string band influences from the textile mill towns in the area, and the regional style of the Piedmont blues, and you’ve got yourself quite the musical melting pot.

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This historical mixture was not lost on one of Greensboro’s own, Rhiannon Giddens – one of modern day Americana’s ultimate crossover artists. A child of black and white parents, she grew up in the area hearing folk and country music, participating in music programs in local public schools, and eventually going on to study opera at Oberlin Conservatory in Ohio. Once she returned to North Carolina and came under the study of fiddler Joe Thompson and the Black string band tradition, she began playing folk music and forged an artistic identity steeped in classical as well as vernacular music. In this episode of Carolina Calling, we spoke with Giddens about her background in Greensboro and how growing up mixed and immersed in various cultures, in a city so informed by its history of segregation and status as a key civil rights battleground, informed her artistic interests and endeavors, musical styles, and her mission in the music industry.

Subscribe to Carolina Calling on any and all podcast platforms to follow along as we journey across the Old North State, visiting towns like Durham, Wilmington, Shelby, and more.


Music featured in this episode:

Rhiannon Giddens – “Black is the Color”
Andrew Marlin – “Erie Fiddler”
Carolina Chocolate Drops – “Cornbread and Butterbeans”
The Rolling Stones – “Rocks Off”
Count Basie and His Orchestra – “Honeysuckle Rose”
Roy Harvey – “Blue Eyes”
Blind Boy Fuller – “Step It Up and Go”
Rhiannon Giddens, Francesco Turrisi – “Avalon”
Carolina Chocolate Drops – “Snowden’s Jig (Genuine Negro Jig)”
Barbara Lewis -“Hello Stranger”
The O’Kaysions – “Girl Watcher”
Joe and Odell Thompson – “Donna Got a Rambling Mind”
Carolina Chocolate Drops – “Country Girl”
Carolina Chocolate Drops – “Hit ‘Em Up Style”
Our Native Daughters – “Moon Meets the Sun”
Rhiannon Giddens, Francesco Turrisi – “Si Dolce é’l Tormento”


BGS is proud to produce Carolina Calling in partnership with Come Hear NC, a campaign from the North Carolina Department of Natural & Cultural Resources designed to celebrate North Carolinians’ contribution to the canon of American music.

Photo Credit: Ebru Yildiz

Enter to win a prize bundle featuring a signed copy of author and Carolina Calling host David Menconi’s ‘Step It Up and Go: The Story of North Carolina Music,’ BGS Merch, and surprises from our friends at Come Hear North Carolina.

Carolina Calling, Shelby: Local Legends Breathe New Life Into Small Town

The image of bluegrass is mountain music played and heard at high altitudes and towns like Deep Gap and remote mountain hollers across the Appalachians. But the earliest form of the music originated at lower elevations, in textile towns across the North Carolina Piedmont. As far back as the 1920s, old-time string bands like Charlie Poole’s North Carolina Ramblers were playing an early form of the music in textile towns, like Gastonia, Spray, and Shelby – in Cleveland County west of Charlotte.

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In this second episode of Carolina Calling, a podcast exploring the history of North Carolina through its music and the musicians who made it, we visit the small town of Shelby: a seemingly quiet place, like most small Southern towns one might pass by in their travels. Until you see the signs for the likes of the Don Gibson Theatre and the Earl Scruggs Center, you wouldn’t guess that it was the town that raised two of the most influential musicians and songwriters in bluegrass and country music: Earl Scruggs, one of the most important musicians in the birth of bluegrass, whose banjo playing was so innovative that it still bears his name, “Scruggs style,” and Don Gibson, one of the greatest songwriters in the pop & country pantheon, who wrote “I Can’t Stop Loving You,” “Sweet Dreams,” and other songs you know by heart. For both Don Gibson and Earl Scruggs, Shelby is where it all began.

Subscribe to Carolina Calling on any and all podcast platforms to follow along as we journey across the Old North State, visiting towns like Greensboro, Durham, Wilmington, Asheville, and more.


Music featured in this episode:

Charlie Poole & The North Carolina Ramblers – “Take a Drink On Me”
Flatt & Scruggs – “Ground Speed”
Don Gibson – “I Can’t Stop Loving You”
Andrew Marlin – “Erie Fiddler” (Carolina Calling Theme)
Hedy West – “Cotton Mill Girl”
Blind Boy Fuller – “Rag Mama, Rag”
Don Gibson – “Sea Of Heartbreak”
Patsy Cline – “Sweet Dreams ”
Ray Charles – “I Can’t Stop Loving You”
Ronnie Milsap – “(I’d Be) A Legend In My Time”
Elvis Presley – “Crying In The Chapel”
Hank Snow – “Oh Lonesome Me”
Don Gibson – “Sweet Dreams”
Don Gibson – “Oh Lonesome Me”
Chet Atkins – “Oh Lonesome Me”
Johnny Cash – “Oh, Lonesome Me”
The Everly Brothers – “Oh Lonesome Me”
Neil Young – “Oh Lonesome Me”
Flatt & Scruggs – “Foggy Mountain Breakdown”
Bill Preston – “Holy, Holy, Holy”
Flat & Scruggs – “We’ll Meet Again Sweetheart”
Snuffy Jenkins – “Careless Love”
Bill Monroe – “Uncle Pen”
Bill Monroe – “It’s Mighty Dark To Travel”
The Earl Scruggs Revue – “I Shall Be Released”
The Band – “I Shall Be Released”
Nitty Gritty Dirt Band – “Will The Circle Be Unbroken”
The Country Gentlemen – “Fox On The Run”
Sonny Terry – “Whoopin’ The Blues”
Sonny Terry & Brownie McGee – “Born With The Blues (Live)”
Nina Simone – “I Wish I Knew How It Would Feel To Be Free”


BGS is proud to produce Carolina Calling in partnership with Come Hear NC, a campaign from the North Carolina Department of Natural & Cultural Resources designed to celebrate North Carolinians’ contribution to the canon of American music.

The Show on the Road – AHI

To finish out the season, we bring you a talk from Toronto with rising roots singer-songwriter and folk philosopher AHI (pronounced “eye”), who celebrated the release of his acclaimed third full-length album Prospect in November.

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Born in Brampton, Ontario, to Jamaican and Trinidadian immigrant parents, AHI (short for Ahkinoah Habah Izarh) didn’t initially plan to pursue music — and scared his large family of teachers and educators by jumping ship from college and traveling wildly instead with just his guitar by his side. Stints seeing the remote villages in Ethiopia and Trinidad as well as backpacking all across his native Canada filled his songwriting inkwell to bursting. He also began building his family (he has four children who often appear in playful videos), and he isn’t shy about saying his wife is his muse and number one supporter. His forceful We Made It Through The Fire came in 2017, with the catchy and tender tune “Ole’ Sweet Day” being streamed nearly 20 million times since.

Becoming a traveler again, this time as a storyteller sharing his ever-growing catalogue (the hooky and politically-charged In Our Time came in 2018) forced AHI to be away from his family for months at a time — and as the pandemic arrived, his priorities began to shift. Prospect is his most heartfelt and introspective work yet, diving into where he stands as a Black man raising Black boys in a dangerous but increasingly hopeful world. Using booming gospel backing vocals and sweeping church-like reverb behind his warm acoustic guitar and silky voice, a standout like “Coldest Fire” feels like a post-George Floyd reckoning piece as well as a pure poetic pop jam.

Stick around to the end of the talk to hear AHI discuss how he would make vegan nachos for Jesus, Martin Luther King Jr. and Dave Chapelle — and he ends the show with an acoustic rendition of the sexy “Until You.”


Photo courtesy of Shore Fire

The Show on the Road – Brandy Clark

This week, we bring you a conversation with one of Nashville’s supreme songwriters: Brandy Clark.

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Born in a logging town in Washington state, Clark started playing guitar at age 9 before setting it aside and getting a scholarship for basketball. Music kept tugging her back in though. Like a modern Patsy Cline, she has a knack for nailing a heartbreaker. Reba recorded two of her songs in (“Cry,” “The Day She Got Divorced”) and Brandy soon found a valuable mentor in Marty Stuart, who helped her make her Opry debut in 2012.

While you may just be learning about Clark’s stellar solo work, which mixes old school and witty new school country with some of the tightest pop hooks in the game, Clark has been co-writing for some of country and rock’s leading ladies for years, like Miranda Lambert, Kacey Musgraves, LeAnn Rimes and Sheryl Crow to name a few. But it was with her lyrically masterful, lushly-orchestrated 2020 LP Your Life Is A Record that doors started opening in a whole new way. 2021 saw an extended deluxe version drop.

In this unearthed conversation (blame a faulty hard-drive), we go through her darkest breakup songs, hear about her tastiest kiss-offs and discuss her unique perspective of Nashville’s Music Row Boys’ Club.

Don’t miss the end of the taping when Brandy discusses teaming up with her songwriting hero Randy Newman on the cheeky tune “Bigger Boat” and she plays an exclusive acoustic performance.


This episode of The Show On The Road is brought to you by WYLD Gallery: an Austin, Texas-based art gallery that exclusively features works by Native American artists. Find unique gifts for your loved ones this holiday season and support Indigenous artists at the same time. Pieces at all price points are available at wyld.gallery.

The Show On The Road – Hayes Carll

This week, we get on the horn with renowned Texas-born singer and deeply observational songwriter Hayes Carll, who is celebrating the release of his seventh LP, the atmospheric country-tinted You Get It All.

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While some may just be discovering Hayes’ lived-in songs which are often spun with dark humor (he admits John Prine and Jimmy Buffett were early inspirations), next year marks the twentieth anniversary of his first album Flowers and Liquor, which he wrote while still in college in Arkansas. His acclaimed follow-up Little Rock (2005) remains one of the only self-released albums to make to #1 on the Americana chart.

Hard-charging years on the road and humble years before, getting by working long nights at Chili’s, Red Lobster and more, made Hayes truly appreciate when his star in the roots circuit began rising. His tongue-and-cheek country kiss off “She Left Me For Jesus” off his breakout major label debut Trouble In Mind (2008) might have shocked mainstream radio programmers, but it brought in a whole new wave of fans who have been diligently following him across the world ever since. KMAG YOYO & Other American Stories came in 2011 and pulled even fewer punches – showing his knack for a devastating hook. “KMAG YOYO” is army-speak for “Kiss my ass, guys, you’re on your own.”

Some artists may bring their wives into the studio as a cute cameo now and again, but Carll is lucky enough to have artist and sought-after producer Allison Moorer on the home team. Together with Kenny Greenberg, she helped bring out a softer, deeper side of Carll on the newest You Get It All – with the standout heartbreaker “Help Me Remember” centering on his experience watching his grandfather in Texas drift away with dementia.

Maybe the most fun on the new record comes from the rollicking opener “Nice Things” – which reveals why Carll may not be getting on right-leaning pop-country radio anytime soon, while still winning legions of listeners anyway: it’s a countrified conversation between God and her screwed up human subjects on earth … and God is a frustrated (and rightly so) lady.


Photo credit: David McClister

Harmonics With Beth Behrs: Amythyst Kiah

Welcome back to Harmonics! While host Beth Behrs is planning a brief hiatus from the show (at least regarding new episodes – you can still follow along with everything Harmonics via the newsletter and social media), she is sending us off with one new episode to hold us over. For this episode, Beth sits down with longtime BGS favorite (and recent Artist of the Month alum!) Amythyst Kiah.

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Kiah tells the story of her life’s musical journey, discusses the importance of claiming her space in the roots music world as a queer Black woman, and ponders religion, philosophy, and spiritual moments experienced through music. The pair also talk about mental health and the transformative power of therapy, feeling like an outsider and the dangers of isolation, repressing feelings and toxic positivity, and wonder: Do we each truly have a specific purpose in life?


Listen and subscribe to Harmonics through all podcast platforms and follow Harmonics and Beth Behrs on Instagram for series updates!

Photo credit: Sandlin Gaither

The Show on the Road – The Felice Brothers

This week, we call into the Catskills of New York for a deep conversation with James Felice: accordionist, pianist, songwriter and co-founder of fun-house-mirror Americana group, The Felice Brothers.

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James started the band with his brothers (poet lead singer Ian) and percussionist Simone in 2006 as a busking folk pop experiment with a literary rebel streak within the subways of New York City. They’ve joined roots-pop luminaries like Bright Eyes at venues as storied as Radio City Music Hall — but somehow the gritty, back-alley bar seems like their natural habitat. Ian, James and their longtime quartet (Will Lawrence and bassist Jesske Hume round out the band) returned after years of hibernation to release their daring party-through-the-apocalypse rollercoaster of a new LP From Dreams To Dust in 2021 on Yep Roc Records.

Some bands record at home, or maybe in tricked-out cabins or plush studios, but The Felice Brothers seem to make records that use their unique and often bizarre surroundings as an added character in the band. Their beloved self-titled record, which came out 2008, feels like a gin-soaked saloon party where Hemingway and Lou Reed and Sly Stone would join in on swaying sing-alongs besides a sweat-soaked piano. It was somehow recorded in a converted chicken coop, while their brassy, bizarro-rock romp Celebration, Florida (2011) was recorded in a booming high school gymnasium. “Honda Civic” is a musical-theater-esque favorite, with an explosion at the local Wonder Bread warehouse taking center stage in the narrative. Does any of it make sense? Does it matter?

Their newest work is a more emotional, sonically lush, storytelling-driven operation, having been recorded in a church in Harlemville, New York, with award-winning mixer Mike Mogis at the helm. Mortality takes the spotlight. Ian Felice is in rare form here, spitting more words and setting more strange scenes per song than most slam-poets or absurdist playwrights. The lead song, “Jazz on the Autobahn,” has become a staple on Americana radio, showcasing what TFB have always done best: taking their listeners on a white-knuckle ride that has no predicable end or resolve in sight.

The Show on the Road – Pokey LaFarge

This week, we bring you an in-depth dive with vintage roots-n-soul excavator and beloved Illinois-born songwriter Pokey LaFarge. With his trusty guitar on his lap during the talk, taped in his LA breakfast nook, we go through the making of his funky and cheerful new LP, In the Blossom of Their Shade.

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For the last decade and change, Pokey LaFarge (born Andrew Heissler in Bloomington-Normal) has crisscrossed the globe making his own brand of historic-minded, literary-tinged folk blues. Europe, especially, has become a second home. From his fashion sense, to his high-cutting delivery, LaFarge seems like he could have stepped out of a road show with Hank Williams and Sister Rosetta Tharpe, and yet, rock luminaries like Jack White saw something deeper than just a player of old-time covers.

Out on his own from a young age, Pokey began busking to get by and soon teamed up with the South City Three to create his first run of albums in 2009. Opening for White got LaFarge in front of huge crowds, and standout records like the danceable Something In The Water (2015) and the darker Rock Bottom Rhapsody (2020) saw him transition from front-porch country folk to muscular jangly rock-n-soul.

If there are a few things that helped the new release In The Blossom of Their Shade come to be, they may have been falling in love again, rediscovering his faith in a higher power, and taking plenty of power naps during his songwriting sessions. During the pandemic, Pokey also began helping the local homeless community in LA.

Stick around to hear an exclusive acoustic performance of his single, “Get It ’Fore It’s Gone.”


Photo credit: Eliot Lee Hazel

The Show on the Road – Silvana Estrada

This week, to help celebrate Hispanic Heritage Month, The Show On The Road brings you conversation with a rising star in folklorico-pop hailing from Veracruz, Mexico: Silvana Estrada.

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Currently on her first tour of the United States opening for Rodrigo y Gabriela, Estrada has already made a name for herself in Mexico, renowned for her deft finger-picking on the Cuatro, and her ever-bending, darting vocal mastery. Songs from her first EP, including the soaring electronic-beat driven “El Guardo,” have been listened to over twenty million times and counting — and a collaboration with Mexican roots-rock hero Natalie Lafourcade came last year too.

At only 24, Estrada, the daughter of two instrument makers, is just coming into her own as a songwriter, dipping into her love affairs and private passions with a true, clear-eyed, poet’s pen. Singles off her debut album Marchita for Glassnote Records have already landed to great acclaim, and she’s the label’s first Spanish-language signing ever. Look no further than the heartbreaker “Tristeza” for a first taste of her rustic, primordial sound.


Photo credit: Sofía López Bravo

The BGS Radio Hour – Episode 221

Welcome to the BGS Radio Hour! For the past five years, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. And this week, we say a bittersweet goodbye to the airwaves with our final episode. We want to give a special thank you to our partner station, WMOT Roots Radio 89.5 FM in Murfreesboro / Nashville, and all the stations that have aired our show over the years! And of course, a huge thank you to our readers and listeners for following along as well.

For this final week of the BGS Radio Hour, we have a recap of last week’s IBMA Awards, brand new music from our Artist of the Month — and newly crowned IBMA Entertainer and Guitar Player of the Year — Billy Strings, and much more.

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Billy Strings – “Secrets”

With a brand new album, Renewal, and his win this past week of IBMA’s highest honor, Entertainer of the Year, there’s no one else we’d rather have as our October Artist of the Month than Billy Strings. Check out our Essential Billy Strings playlist and stay tuned for more Billy content all month long.

RC & the Ambers – “Gravy and Biscuits”

Oklahoma-based RC & the Ambers spoke on their biggest musical influence, watching The Golden Girls as a pre-show ritual, kayaking on the Illinois River, and more in a recent edition of 5+5.

Asleep at the Wheel (feat. George Strait and Willie Nelson) – “Take Me Back to Tulsa”

On the latest episode of The Show on the Road, we bring you a conversation with Ray Benson: ringleader of the Grammy-winning, half-century-spanning group, and one of American roots music’s most durable and iconic bands, Asleep at the Wheel.

High Fidelity – “Banjo Player’s Blues”

This song from traditional bluegrass group High Fidelity was nominated for Song of the Year at last week’s IBMA Awards. Hard to have the “Banjo Player’s Blues” when you have news like that to share!

Haunted Like Human – “Ohio”

Americana duo Haunted Like Human wrote “Ohio” inspired by a true story, and the end result is a tale told through letters of a man wanting to do right by his family while also wanting to get back home to them.

Single Girl, Married Girl – “Wreck Cut Loose”

Single Girl, Married Girl has always loved torch songs and big weepy ballads — especially country ones! “Wreck Cut Loose” is placed in a more modern aesthetic and setting, but the lineage — and ties to the likes of Patsy Cline — should be obvious.

Patrick Dethlefs – “If You Listen”

The title track for Patrick Dethlefs’ brand new album explores the idea of still feeling connected to loved ones who have passed on. Patrick tells us, “[It’s] maybe even asking the question, ‘Is this person with me now more than they have ever been?'”

Balsam Range – “Richest Man”

Balsam Range, hailing from Haywood County, North Carolina, are no strangers to the IBMA Awards, having won the 2014 and 2018 award for Entertainer of the Year, among other accolades and awards over the years. And now in 2021, they’ve won Song of the Year for “Richest Man.”

Fireside Collective – “And The Rain Came Down”

Asheville bluegrass band Fireside Collective wrote “And the Rain Came Down” inspired by the many “storms” of COVID and the Great Flood tale from the Old Testament. But, despite the song’s somber overtones and the uncertainty of the story, there is still a message of hope.

Kris Gruen – “Pictures Of”

Alt-folk singer-songwriter Kris Gruen wrote “Pictures Of” about his daughter, as a tribute to her maturation and readiness for the world. In different words “Pictures Of” says, “Be excited for and in love with the world! Regardless of our collective fear in the unknown…”

James McMurtry – “Canola Fields”

Holding a conversation with James McMurtry is similar to experiencing his music. He is frank, eloquent, and gets to the heart of the matter with few words. On The Horses and the Hounds, his first album of new material in nearly seven years, he tells sometimes complicated emotional stories through his fictional characters, crafted within the limits of rhyme and meter. His deft chronicling of human nature woven with descriptions of place and scene give the listener context beyond the experience, almost like each song is the essence of a short story or novel. Listen to “Canola Fields” and read our conversation with McMurtry.

Appalachian Road Show – “The Appalachian Road”

At this year’s IBMA Awards, Appalachian Road Show was the second most nominated group, and they were awarded the honors of Instrumental Group of the Year and New Artist of the Year. On top of those wins, this tune, “The Appalachian Road,” was nominated for Instrumental Recording of the Year.

Clinton Davis – “Curly Headed Woman”

Old-time musician Clinton Davis has recorded his own version of “Curly Headed Woman,” a rare rendition of one of the most common American folk songs: “The Hesitation Blues” or “If the River Was Whisky” as most people call it.

Sideline – “Old Guitar Case”

Sideline reminisces on how they became a band, the importance of teamwork, prioritizing having fun every time they step out on stage, and more in a recent 5+5.


Photos: (L to R) Billy Strings by Jesse Faatz; Ray Benson by Mike Shore; James McMurtry by Mary Keating-Bruton