Artist:Sean Trischka Hometown: Fair Lawn, New Jersey Song: “Why You Been Gone So Long” (feat. Jacob Jolliff) Release Date: May 19, 2023 (single); June 2, 2023 (video)
In Their Words: “50 years ago, almost to the day, Clarence White melted faces and stole hearts when he sang ‘Why You Been Gone So Long’ at a show in a small room in Stockholm, Sweden. The recording of this essentially punk-rock performance can be found on The New Kentucky Colonel’s Live in Sweden record, which has been living rent-free in my head from the moment I heard it.
“The ruggedness of Clarence’s voice paired with the comfortable looseness of the band reminded me why I love bluegrass, but also why I love rock music. I wanted to do something that would pay tribute to both the song and the energy of that version.
“I played all the instruments on the basic track and, during recording, left a space for a guitar solo that I assumed I’d clumsily crank out myself at a later date. But as dumb luck would have it, I had lunch with Jacob Jolliff shortly after recording and immediately thought his unabashed, incredible, stream-of-consciousness playing style would be perfect for the track. We recorded his performance at my apartment in New York City – and he melted my face and stole my heart.
“As for the video, it’s my chaotic visual rendering of a bluegrass/rock mind-meld. I hope you enjoy. <3” – Sean Trischka
Ask any fan of bluegrass, and part of what inspires their love is the experience of feeling the music.
The reverberations of wood and string. Thick harmony hanging in the air. That magic interplay of creative spirits trading instrumental breaks back and forth without speaking a word. Until now, you could really only get that in a live setting. But with Dolby Atmos, we’re getting closer than ever to capturing it.
This new spatial audio format is slowly changing the listening experience – and for once, bluegrass music is at the forefront. Labels like Crossroads Music Group – which includes Mountain Home Music Company and Organic Records – are recording and mastering their music with Dolby Atmos, and platforms like TIDAL are fully onboard, adopting it for their “Bluegrass: Dolby Atmos” playlist.
It’s a win-win, really. Fans get that full-bodied, textured-listening experience – and artists love it, too. According to them, bluegrass is particularly well suited to the spatial-audio revolution.
“It’s perfect because of the organic nature of the music,” says Darren Nicholson (formerly of Balsam Range), who is featured on the TIDAL playlist. “It feels like you are standing in the middle of a jam session in the living room.”
“As a listener of bluegrass music, it feels groundbreaking to listen to the genre in Dolby Atmos,” adds Jesse Iaquinto of Fireside Collective, praising how the Bluegrass: Dolby Atmos playlist highlights bluegrass’s “depth” – with all its tone and timbre included.
In fact, artists like Jeremy Garrett of The Infamous Stringdusters say bluegrass is “prime candidate” for new tech like Dolby audio.
“Bluegrass music in particular is very dynamic and has great sonic separation built in by nature of the instruments usually involved,” he explains. “The extra space gives it the breathing room the music needs to really ‘pop’ for a recorded music listening experience.”
That was the idea for TIDAL’s Editor-in-Chief, Tony Gervino, too. He calls bluegrass “one the most dynamic and vital branches within today’s country music,” and notes that “as the Bluegrass sound itself expands, so do the listening possibilities for its fans.”
He and his team created the Bluegrass: Dolby Atmos playlist to celebrate that very expansion. They ended up with an expert-curated lineup which includes artists from across the bluegrass spectrum, from Lonesome River Band and Balsam Range, to Unspoken Tradition, Benson, The Grascals, The Cleverlys and more. Many of them are also part of Crossroads Music Group.
To them, the magic is in the way Atmos recording makes each listener feel surrounded – even through tiny computer speakers. You don’t just hear the notes, you hear the way each musician and their instrument play off one another, and how it all blends together.
Before now, that has never really been captured in recorded music – not even bluegrass, with its intricately woven textures and overlapping parts. So for Iaquinto, this new playlist is especially gratifying.
“With no drums or percussion, bluegrass musicians are always playing subtle but intricate parts,” he explains. “These can go unheard on other forms of audio, but with spatial audio, they are brought to the forefront.
“The vocals are brightened up and colored in a way that finally gives the recorded songs the respect and focus they deserve,” he goes on. “As someone who loves acoustic music, I am extremely happy with the level of quality provided by Dolby audio.”
For artists like Nicholson, the appreciation is perhaps more simple. Calling Dolby Atmos the “ultimate experience,” he praises the way fans can finally sense the attention to detail bluegrass musicians put into their work – a labor of love he likens to crafting “an amazing bouillabaisse.”
You might not know what’s in it, but you know it’s delicious.
“I’m proud of it. I’m proud for listeners to hear it,” Nicholson says, speaking of his music being recorded in Dolby Atmos, and placed on playlists like TIDAL’s Bluegrass: Dolby Atmos. “It is the way to enjoy the music with the utmost clarity. It’s a completely unique listening experience. Whether the average listener knows why, they do know that something is different. And in a good way.”
Editor’s Note: This post is sponsored by Crossroads Label Group.
Artist:Zoe & Cloyd Hometown: Asheville, NC Song: “Up and At ‘Em” Album:Songs of Our Grandfathers Release Date: May 19, 2023 Label: Organic Records
In Their Words: “‘Up and At ‘Em’ is one of my favorite Jim Shumate compositions and the title track to his 1991 album of that name. Jim was always proud that this record made it onto the Library of Congress/American Folklife Center’s list of outstanding folk recordings of that year, as it marked his return to recording after a decade-long hiatus. Since this tune is in a minor key, it really dovetails well with the klezmer material on Songs of Our Grandfathers, especially with Natalya’s added doina intro. We were psyched to have Andy Statman play mandolin on it for the album and he gave it a really cool treatment using the Monroe ‘Get Up John’ tuning for some old school flavor.
“For the video we had Kevin Kehrberg and Ben Krakauer with us and Aaron from Old Home Place Recordings thought it would be fun to have the camera in the middle while we played the tune in a circle, jam style. It’s a different approach that makes you feel like you’re inside the performance and it turned out great!” – John Cloyd Miller
Gloria Flickinger’s first public singing engagement was at age three. Her parents placed her on a chair to reach the microphone at a radio station broadcasting a church program.
More than 70 years later, Gloria – by then long known as Gloria Belle – was still singing the gospel music she loved in churches in the Tennessee region.
Between her first performance and her death on May 5, 2023, at age 84, Gloria Belle broke barriers as a multi-talented musician in the male-dominated world of first-generation bluegrass. She set a standard for all-around musicianship, independence and grace-under-fire for future generations of women in bluegrass.
Gloria grew up listening to the Grand Ole Opry and the Wheeling Jamboree on the radio – where her attention was caught early on by Little Miss Evelyn singing with the Bailey Brothers. She also was taken by the powerful voices of Mollie O’Day and Wilma Lee Cooper. At age 11, she picked up a mandolin that she said her mother “had never learned to play like she wanted to.” She learned basic guitar from her mother, as well, and learned to pick out melodies by listening to Mother Maybelle Carter and Bill Clifton.
When she was 13, her parents took her to a Bailey Brothers performance at Valley View Park in Pennsylvania. In a 2006 interview, Gloria said, “When I saw that show, I said, ‘That’s it.’” She was going to be a musician. At 15, she dropped out of high school, saying, “I don’t need a high school education to play music.”
After leaving school, Gloria took day jobs (most notably in a potato chip factory). She honed her instrumental skills, played for a time with a local band and continued singing in churches with her parents – who were enduringly supportive of her music.
During that period, a teenaged Tom Gray (legendary bass player with the Country Gentlemen and Seldom Scene, as well as others) jammed with Gloria in a parking lot in West Grove, Pennsylvania. He said, “She impressed everyone with her singing. What a strong voice. And she could play most of the instruments. Our mentor, Bill Clifton said, ‘There is a woman who can sing like Molly O’Day.’”
One family vacation, the Flickingers drove to a showing of the Farm and Home Hour – live broadcast programming started by entrepreneur Cas Walker to promote his Knoxville retail businesses. Danny Bailey, formerly of the Bailey Brothers, invited Gloria and her mother to perform a few tunes.
About six months later, Bailey wrote to Gloria, asking her to come to Knoxville as soon as possible to replace departing performers.
On the way to Knoxville, the family stopped in Huntington, West Virginia, so Gloria could meet her hero, Molly O’Day. The older woman received them graciously, recommending which of O’Day’s songs Gloria should incorporate into her repertoire.
One of these was “Banjo Pickin’ Girl”– which Gloria would play in seven shows a day, six days a week during one long, North Carolina summer.
Jump ahead to 1959, Gloria was 21.
Almost immediately, Gloria began breaking new ground as a bluegrass musician. Beyond being the “girl singer,” she was establishing herself as an instrumentalist and harmony partner, as well as a lead singer.
For five years, Gloria played with Cas Walker’s live radio and TV programs. Walker dubbed the singer “Gloria Belle,” because he couldn’t pronounce Flickinger.
Gloria sang duets with Danny Bailey, as well showcasing on banjo and twin mandolins. During this period, she recorded two singles, becoming only the second woman (the first was Donna Stoneman) to record a bluegrass mandolin solo.
After leaving Walker’s organization, Gloria easily found other work. She spent a season at the Ghost Town shows in Maggie Valley, North Carolina. It was there she played ‘Banjo Pickin’ Girl’ so often, she said, “I felt like a robot.”
She then performed with Betty Amos and her All-Girl Band, playing country and bluegrass.
In 1967, Rebel Records released Gloria Belle Sings and Plays Bluegrass in the Country. She was only the fourth female bluegrass artist with her own album, and the first woman to play lead instruments (banjo, guitar and mandolin) on a solo project.
On two later solo albums (A Good Hearted Woman, 1976, and The Love of the Mountains in 1986) she preferred to concentrate on her singing, only playing one stunning mandolin solo that kept up with the speed of her stellar back-up band, the Johnson Mountain Boys.
Around this time, the band Bluegrass Travelers invited Gloria to join them as band leader. Gloria again broke new ground, fronting an all-men’s band. She also demonstrated her strong sense of values by insisting that all band members, including herself, receive the same pay.
In her important book on women in bluegrass, Pretty Good for a Girl, Murphy Henry wrote, “What we are seeing here is a picture of the quintessential bluegrass side musician, only this had never been done before by a woman in bluegrass. . . . Gloria Belle went where the work was.”
Occasionally, being a female musician could open doors in bluegrass. The audience appeal of a “girl singer” encouraged Jimmy Martin – one of the top names in bluegrass – to invite Gloria to join his Sunny Mountain Boys. While he never took full advantage of Gloria’s instrumental abilities (she played snare drum before moving to bass with him), Gloria’s voice shone as a harmony singer, including on high baritone parts of trios and quartets. While Martin discouraged her from playing on recordings, she sang on many tracks, adding harmonies that Henry described as “spine-tingling.”
Gloria distinguished herself in other ways. As a tiny woman on stage, she held her own with grace, kindness and gratitude for doing the work she had always wanted to do. (And she hauled her upright bass across the stage effortlessly.)
As a boy, Mark Newton saw Gloria perform with the Sunny Mountain Boys. “She held her head high. She was confident. She was determined.” And he remembers the passionate gleam in her eyes when she played and sang.
Timmy Martin (Jimmy Martin, Jr.) met Gloria when he was a young boy playing in his dad’s band. He bought his first – and still favorite – car from Gloria at age 14.
Gloria was assigned to ride shotgun when the teenaged Timmy drove the bus, entertaining him with conversation during long hours on the road. “She was always really, really nice,” even during stressful episodes – like when the band had to sleep on a broken-down bus somewhere near Kansas for days.
A frequent comment about Gloria’s days with Jimmy Martin’s band was, “It can’t have been easy.” But Gloria seems to have laughed off the wisecracks and insults.
Author Bob Artis quoted Martin as joking, “She’s not very good, but we let her sing with us ‘cause we feel sorry for her.” Whether he garbled her name during an introduction or deliberately distracted the audience during her solos, Gloria didn’t let it bother her: “I was just doing my job.”
Gloria left the Sunny Mountain Boys for several years, during which time she played with an all-female country dance band and later in a duo with Charlie Monroe. In 1975, she returned to Martin’s band, recording with him a final time in 1978.
Gloria returned to Cas Walker in Knoxville, taking other jobs in the region as time permitted. Eventually, she moved to Florida, where she took temporary day jobs, jammed and for a short time performed with an all-female group called Foxfire.
Until this time, Gloria had remained single by choice. But after crossing paths musically with luthier and guitarist Mike Long for many years, Gloria married Long in 1989. Until then, she said, “I wasn’t going to marry somebody who would stop me from playing music.”
The couple formed Gloria Bell and Tennessee Sunshine. Based in Virginia, they toured and recorded five albums, three of which were entirely gospel. Nancy Cardwell, Executive Director of the International Bluegrass Music Foundation said, “Gloria …was definitely the band leader, and Mike treated her like a star…”
During her later years, Gloria remained visible in the bluegrass arena. Murphy Henry notes two memories of the Gloria at IBMA gatherings that stand out particularly: “…a Women in Bluegrass performance at Fan Fest, where she played killer mandolin on the rapid-fire instrumental ‘Dixie Breakdown,’” and “a Women in Bluegrass workshop where she and Hazel Dickens stole the show by singing a hair-raising version of ‘Banjo Pickin’ Girl.’”
In 1999, Gloria was the first person Mark Newton contacted when he planned his duet album, Follow Me Back to the Fold, a tribute to women in bluegrass. In 2001, Newton’s project was named IBMA Recorded Event of the Year. Henry wrote, “At the IBMA Awards Show… Gloria Belle participated in the grand finale… When she stepped up to the [mic] to belt out her verse of the title song, the audience broke into spontaneous applause for her energetic performance.”
Also in 1999, Gloria became only the ninth woman to be awarded the IBMA’s Distinguished Achievement Award. And in 2009, she won another Recorded Event of the Year award for Proud to be a Daughter of Bluegrass.
The IBMA Foundation’s Cardwell said, “That ‘She Persisted’ T-shirt that was popular a few years ago could have been inspired by Gloria Belle. She was one of the first women in bluegrass during her era to tour, perform and record professionally in well-known groups . . . as a side musician who wasn’t a part of a family band or married to someone in the band.
“She played lead and rhythm instruments well . . . and pulled her weight musically as a band member . . . she was a role model and an inspiration for all the great female instrumentalists, singers and band leaders that have come along in bluegrass music in later years.”
Acclaimed bassist and band leader Missy Raines remembers her reactions to Gloria’s stage appearances. “Her impact on this young girl was real. She always dressed for the stage – lots of sparkle. She sang great and played everything. She endured Jimmy Martin’s stage banter with grace and fortitude that can only come from a true professional.”
Becky Buller, a much-lauded singer and fiddler who also worked her way from side musician to band leader, believes she had much to learn from Gloria. She conducted a long search to find her, but only succeeded after Gloria was too ill to speak. But the 2006 video brought Gloria’s personality to life for Buller. “I especially loved her laugh.”
Friends remember how close she was with her parents, who were a constant source of support and kindness. After her father’s death, Gloria’s mother continued to be a presence at Gloria’s performances as well as in her home.
Barbara Martin Stephens, who first hired Gloria for Jimmy Martin’s band and who stayed friendly with her and Mike, had nothing but praise for Gloria: “She was always a kind person,” she said, who never spoke ill of anyone. “And she was a happy person,” Barbara said. “You just don’t find many people like that.”
Editor’s Note: To honor Gloria Belle, the IBMA Foundation will establish a scholarship fund in her name. Foundation board member Becky Buller said the foundation provides around $50,000 in grants and fellowships annually for a wide range of educational and research pursuits. Buller recognizes that in the last decades of Belle’s life, she may not have gotten the recognition she deserved. She hopes an enduring scholarship will keep Gloria’s name and spirit at the forefront of the bluegrass community.
Artist:The Lonesome Ace Stringband Hometown: Toronto, ON / Horsefly, BC Song: “Crossing the Junction / Deer River” Release Date: June 2, 2023
In Their Words: “The Junction is the neighborhood in Toronto that John and I live at either end of. In the early days of the pandemic, one of us would have to cross the Junction every time we wanted to get together to play music. There was such an uncertain and ominous vibe to everything at that time, even something as simple as walking across your own neighborhood seemed fraught and uncertain. I think you can feel that tension in this tune we wrote together.
“The second tune in this medley is named after a river I grew up fishing in Eastern Ontario. There are lots of waterfalls, and plunge pools as the river runs from pool to pool – I think you can hear it tumble along, especially in the first part of this tune.” – Chris Coole
Artist:Gary Brewer Hometown: Louisville, KY Song: “Old Brown Case” Album: House of Axes Release Date: May 26, 2023 (single); June 30, 2023 (album)
In Their Words: “This is the main axe I’ve carried on the road with me all these years. It’s a 1941 D-28 Herringbone. All-original. You can see she’s got quite a bit of wear on it. One of 183 ever made and she’s still doing good. A good and strong guitar. Going to see if I can go way back and do an old Norman Blake song I recorded a number of years ago. It’s called ‘Old Brown Case.'” – Gary Brewer
Artist:Henhouse Prowlers Hometown: Chicago, IL Song: “Lead and Iron” Album: Lead and Iron Release Date: May 26, 2023 (single) Label: Dark Shadow Recording
In Their Words: “I wrote this song from the perspective of a parent who has lost a child in a school shooting. I found myself thinking about the quote that no parent should have to bury their child. That quote always hit me hard and I couldn’t imagine the pain of losing a child, especially from a school shooting, a place meant for peace and learning. I wrote this one at the end of last summer, I wonder if it was a way for myself to mentally preparing for the next school year and the potential of another deadly shooting (the potential which seems to come true every year).” – Jake Howard, mandolin
“I realized what this song was about halfway through listening to it on a rough demo Jake sent us in October last year and it immediately gave me chills. There’s something about the perspective of it all that continues to rock me when we are rehearsing it. That line about ‘first words spoken and tying shoes’ hits hard.” – Ben Wright, banjo
Artist:Missy Raines & Allegheny, featuring Danny Paisley with Darol Anger, Shad Cobb, and Ellie Hakansan Hometown: Short Gap, WV Song: “These Ole Blues” Album:Highlander Release Date: Fall 2023 Label: Compass Records
In Their Words: “I found this gem of a tune while taking a deep dive into Loretta Lynn’s catalog. Loretta wrote the perfect bar room country shuffle, but I immediately thought it could be a great bluegrass crooner and I knew exactly who I wanted to sing it with – Danny Paisley! I grew up listening to Danny and his father, Bob Paisley, sing together. Danny’s high lonesome edge defines a lot of what is bluegrass to me. Recording this duet with him was a personal bucket list item checked off and everything about the song fits perfectly into the theme of my new album, Highlander, which should be out later this year.
“The project is about paying homage to the earliest sounds that inspired me and this version of ‘These Ole Blues’ feels both authentic and genuine to my very core. Rounding out the track are the triple fiddles of Darol Anger, Shad Cobb, and Ellie Hakanson as well as the other members of my band, Allegheny: Tristin Scroggins (mandolin), Eli Gilbert (banjo) and Ben Garnett (guitar).” – Missy Raines
Ethan Setiawan knows the importance of a good pick. The Portland, Maine-based mandolin player has lately been experimenting with changing the entire sound of his instrument through one tiny, flat piece, pinched between his fingers. The material, girth, texture, and weight of his pick all play a crucial role in how his mandolin sounds, sometimes bright and plucky, or dark and full-bodied. “It’s good to have a sound and have gear that you like, but often the thing that helps me be more creative is just being able to change it up,” he says. “Change is helpful for your own growth and can really spark new ideas or keep things fresh.”
On his new record, Gambit, he finds himself somewhere in between, which is fitting given the way he fuses his entire musical background to create something completely new. It isn’t jazz, but it’s not not jazz. It’s bluegrass, but not in the traditional sense. It’s funk, but also old-timey.
The Berklee College of Music grad could easily fool you into thinking he’s much older than his years. A seasoned bandmate to some of bluegrass music’s finest — including Gambit producer Darol Anger, whom he first met as a high school student — Setiawan is beginning to carve out space for his own songwriting. Written in Boston, workshopped in California, recorded in Maine, and then mixed in Nashville, Gambit, as its title suggests, is a joyful mixed bag of the many styles of music that have shaped him into one of the most formidable mandolinists of his generation.
BGS: Darol Anger produced this record, and though you had been playing together for some time, this was your first experience working with each other in this capacity. What led to this partnership?
Ethan Setiawan: We’ve played a bunch of gigs over the years, and it just felt like a good next thing to do was to make a record with him. And he was on board thankfully. We had plans to [record] in August 2020, and then the pandemic started to happen, and it became apparent that wasn’t going to work. So eventually I did make this big road trip out to California where Darol was living at the time, and we had these really nice couple weeks out there, working through the material, just me and Darol kind of playing through the stuff, trying to solidify arrangements and get ideas down on paper to go into the studio with. And eventually in October, we made it into a studio, the Great North Sound Society Studio in Parsonsfield, Maine. We had this four-day session and worked probably 12 to 14 hours a day, every day. And sometimes sessions like those feel like work, you feel tired and drained after a day. But at least for me, those sessions felt really fun, really good. Part of that was not having played music with a band before that time for six months or whatever, and it was cool for me to see these tunes come together, and just working with Darol and seeing how he functioned in the studio. He put in the longest hours of everybody. He was up until 3:00 every night, replacing fiddle parts and working on everything.
The tunes on Gambit are all originals, but there’s so much tradition rooted in these styles of music you’re playing. How do you reconcile that when trying to create your own compositions?
I do a lot of that, pulling from past traditions or old recordings. A lot of the compositional ideas and things that remain the same throughout the record are tunes by people like Matt Flinner and Béla Fleck, other people that have kind of pushed the envelope compositionally. On the record there’s kind of a whole, well, gambit of different styles. There’s old-timey music with fiddle and banjo, Appalachian string band [style] — and kind of in chronological order, I guess the influences would start there. Then you’d move into bluegrass, get into jazz and eventually fusion, funk, that kind of thing. Darol actually summed it up nicely. He was in the David Grisman quartet way back in the day, so he kind of had a hand in forming this style of music. He said something along the lines of, it felt like a journey through the past 40 years of his career. It just ended up this way that all these tunes grabbed from different areas of the past 40 years. The old-timey, the bluegrass, the sort of new acoustic, the jazz. And hopefully by merit of them being my tunes, they kind of hold together as a collection at the end of the day.
How much of creating an original arrangement is improvisational?
For me, there’s always a lot of throwing paint at the wall. There’s a stage that kinda looks like that, where I write a lot of tunes or even just generate a lot of ideas, not even taking the tunes to a completed state. The way I write is kind of two stages: there’s the melody and there’s the harmony, these two sides of the composition. Basically, I write the melody and I try all different combinations of notes and phrase endings. With chords, I’m always trying different stuff. That does a lot to create a mood, I think, for the tune. For any one note, you could harmonize in many different ways, and for any one bar. So I think the important thing for me is just to try all the options, really try to be objective, and see what works the best and what feels the best. Mandolin is the main thing that I play, but I also play some guitar and some cello. So just getting off the instrument I’m most familiar with and getting onto something else can be really helpful in sparking some creativity.
Given this wide range of styles of music you’ve played over the years, how do you describe your sound now?
I’d say that it’s sort of a furthering of the stuff that Darol’s been really involved in, this new acoustic sound. Which is not a label I totally love—just the sound of it—but it’s kinda what we got, I guess. It’s using the attitude of bluegrass in a lot of ways, but not being confined to the stylistic trappings of bluegrass if that makes sense. If you think about how Bill Monroe created bluegrass, he’s kind of the guy that finally took all these influences and put ‘em together and said, ‘here’s the thing.’ He wasn’t even trying to be original; he just was being original. He was just taking all the music that he liked and synthesizing it into what he wanted to hear. And that isn’t often actually the attitude of bluegrass musicians today, but it’s an interesting concept to me and a really interesting way to sort of look at music. So that’s the essence of bluegrass that I’m trying to go after.
How has your relationship with bluegrass evolved since your earliest experience with it?
I think bluegrass is kind of the underpinning of everything that I do, even if it’s not at the forefront of the final product. When I started playing mandolin, I started playing these old-time fiddle tunes, which pretty quickly brought me to bluegrass. When we’re talking about progressions, that is kind of the natural next step for somebody who’s interested in the tunes and the music and improvising especially. You’ll get drawn to bluegrass and then eventually to jazz and so on. That bluegrass vocabulary on the mandolin is really the basis of most of my writing and my playing. And I think that comes through on the record almost more in the way that we approach the tunes and treat how we play the tunes more than the compositions themselves. There are a couple tunes that are a little more bluegrass, but they’re always a little weird. There’s always something a little funky about them. It’s sort of the attitude of the thing that I think has stuck with me the most.
Artist:Danny Paisley Hometown: Landenberg, Pennsylvania Song: “What Crosses Your Mind” (Featuring Sage Palser) Release Date: February 23, 2023 Label: Pinecastle Records
In Their Words: “‘What Crosses Your Mind’ is a song I heard last year at IBMA, and immediately fell in love with. Sage Palser and David Stewart both wrote it. I wanted to capture the classic style of Porter and Dolly, Tammy and George, etc. So I wanted Sage to sing it with me. She really knocked it out of the ballpark. I’m just so happy with the way it turned out.” — Danny Paisley
“‘What Crosses Your Mind’ was a huge accomplishment for David Stewart and I to finish. Recording it with Danny Paisley just put the cherry on top! It is such a joy to get to sing with one of the greats in the bluegrass world on this powerful ballad of a love lost!” — Sage Palser
Photo Credit: Pinecastle Records
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