Tag: California

LISTEN: Heidi Newfield, “When Heaven Falls”

Posted on by Editor

Artist: Heidi Newfield
Hometown: Healdsburg, California
Song: “When Heaven Falls”
Album: The Barfly Sessions, Vol. 1
Release Date: August 28. 2020
Label: Notfamousenough, Inc.

In Their Words: “I wrote this song with Chris Stapleton and Trent Willmon. It was the second of two songs we wrote that day. The first was very cool and a great start… but we had a lot of day left so I told the guys I had this title called ‘When Heaven Falls,’ which originated with the loss of my mother Mary Ann back in 2004. I’d been carrying around all this grief, but hadn’t properly mourned her. I worked through the pain. I stayed on the road and in the studio. That kind of pain always manifests and finds its way out eventually — and for me, a lot of it was through this song.

“Chris laid his head back after thinking on it for a bit and began singing that opening phrase… ‘It’s the burning of an angel damned, that lingers in the souls of man…’ Trent and I just looked at each other and said a resounding ‘YES!!’ We jumped in there and out of our efforts that day came this beautiful and haunting song. It is the pure embodiment of loss, hurt, struggle, helplessness, and a broken heart… how it feels, looks, sounds, and hurts when Heaven falls…” [Read more below.]

“The track was the very last song we recorded that week. My voice was a little tired and worn, but my co-producer Jim ‘Moose’ Brown and I felt it would be a beautifully emotional way to close out the 17 songs we’d recorded late that night. We gathered around with Bobby Terry and David Grissom grabbing guitars. Bobby began playing that stunning acoustic opening lick. We wanted to keep it sparse and open…leaving lots of room and space for the listener’s thoughts.

“Michael Rhodes hopped in there with an old funky bass that sounded like a fretless, but wasn’t. Fred Eltringham kept it so vibey on drums playing just enough to hold us together and add those dynamics. He’s so great! That solo was everyone playing a full piece of an arrangement that was a bit fragile. It could’ve fallen apart at any second, but everyone played those notes stunningly, as a team, as a band. We decided to use my tracking vocal and not mess with it. It’s a little tattered and it’s not busy or fancy, but there was a timing and a transparency that was captured in that moment we wanted to keep. I laid down a harmony part or two and Moose laid one down, too, later in the song, but we kept it simple and honest. You can’t listen to this track without feeling a bit empty. That’s the point of it all.” — Heidi Newfield

Photo credit: Jeremy Fraser

WATCH: Cinder Well, “Queen of the Earth, Child of the Skies”

Posted on by Editor

Artist: Cinder Well
Hometown: Santa Cruz, California, but now Ennis, Ireland
Song: “Queen of the Earth, Child of the Skies”
Album: No Summer
Release Date: July 24, 2020
Label: Free Dirt Records

In Their Words: “This tune is an American version of an Irish set dance called ‘The Blackbird.’ I derived my own interpretation from a 1947 field recording of West Virginian fiddler Eden Hammons. Hammons used an interesting fiddle tuning, DDAD, which I also used here. Erynn Marshall draws the connection between the American and Irish versions of this tune in her book Music in the Air Somewhere: The Shifting Borders of West Virginia’s Fiddle and Song Traditions.

“Being from America and living in Ireland, I have been really interested in fiddle tunes that are found in both traditions. When I found this tune, I set out to reimagine it, led by this idea that if this tune has been making its way around the world for hundreds of years, why not keep interpreting it? I aimed to do this with all the songs, both original and traditional on No Summer, to get to the core of them and express them in the most relevant and honest way possible.

“This video was shot in the back room of Lucas’s bar in Ennis, Ireland, amongst empty tables, but where, in a different time, you have a nice quiet pint next to a fire.” — Cinder Well

Photo credit: Jim Ghedi

WATCH: Molly Tuttle, “Standing on the Moon” (Feat. Taylor Goldsmith)

Posted on by Editor

Artist: Molly Tuttle
Hometown: Palo Alto, California / Nashville, Tennessee
Song: “Standing on the Moon” (Feat. Taylor Goldsmith of Dawes)
Album: …but i’d rather be with you
Release Date: August 28, 2020
Record Label: Compass Records

In Their Words: “I didn’t grow up listening to a lot of Grateful Dead music, but being raised in the San Francisco Bay Area, the Dead was part of the mythology of my family and the area I grew up in (kind of how I imagine people who grew up in Tennessee, where I live now, might feel about Dolly Parton). Our specific family lore was that Jerry Garcia had gone to my high school (Palo Alto High) and my mom’s older sister, my Aunt Titia, knew them and used to take guitar lessons from Bob Weir in Menlo Park. That’s a roundabout way of explaining that this song means so much to me, because it brings me back to my roots. Even though I love Nashville, sometimes I do feel like I’m standing on the moon wishing I were with my friends and family in San Francisco. The line, ‘A lovely view of heaven, but I’d rather be with you’ is my favorite and it’s why I named the album …but I’d rather be with you. Life is messy and imperfect but I’d rather be here in it with all of you!” — Molly Tuttle

“One of the greatest feats as a musician, in my opinion, is taking a Grateful Dead song and creating a version of it that goes beyond the stigmatized identity of a ‘Dead Cover.’ It’s hard to do and takes a lot of courage to make it happen. But Molly reached for that brass ring and then somehow even went beyond it. Her version has given the song new parameters, makes me feel new things, and surpasses any sort of referential quality and becomes Molly’s own song. I’m just happy I got to be one small part of bringing it to life.” — Taylor Goldsmith

Photo credit: Zach Pigg

LISTEN: The Sons of the Soul Revivers, “It Isn’t Safe”

Posted on by Editor

Artist: The Sons of the Soul Revivers
Hometown: Vallejo, California
Song: “It Isn’t Safe”
Album: Songs We’ll Always Sing: A Tribute to the Pilgrim Jubilees
Release Date: July 12, 2020
Label: Little Village Foundation

In Their Words: “Ever since I heard the album the Pilgrim Jubilees put out in 1973, the title is Don’t Let Him Down, I think I’ve gravitated especially to this song, ‘It Isn’t Safe.’ It was the last song on the ‘B’ side. And Cleve Graham, the leader of the Jubilees, shared with us the premise of that song. They were in Chicago, and Cleve said his brother Clay, who’s no longer with us, may he rest in peace, walked in and had a disgusted look on his face. Walking back from church, he’d seen two men attacking a lady. And Clay said, ‘You know what? It isn’t safe anywhere anymore.’ And he wrote the song.

“The message in it, from 1973 and here we are in 2020, and the message is still on point. The distrust of law enforcement, and law enforcement distrusts the public… we have yet to come to a common ground on how we can get along. I’m hoping and praying that this song will resonate with people in general. The lyric goes, ‘We should treat sin just like dirt, and with the broom of faith we should sweep it aside.’ I love that. It’s the only way we’re going to survive. ‘Do unto others as you would have them do to you, I declare that this is all you have to do. It isn’t safe….'” — James Morgan, The Sons of the Soul Revivers

Photo courtesy of the Sons of the Soul Revivers

BGS 5+5: Scroggins & Rose

Posted on by Editor

Artist: Scroggins & Rose
Hometown: Oakland, California
Latest Album: Curios
Release Date: June 26, 2020
Personal nicknames (or rejected band names): We’re not really the nickname types. haha I think for a while we thought of calling ourselves Spiral or something like that, but we landed on Scroggins & Rose pretty quickly.

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

Alisa Rose: I believe any art that I experience influences what I create. I love the floaty mysticism of Chagall’s paintings, the elegant structure in Martha Graham’s dances, the lyricism of Morrison’s books, and the beautiful details of Proulx’s stories. I hope a bit of all of these seep into what I create.

Tristan Scroggins: I’ve always loved paintings and have been inspired by how they can convey so much meaning and emotion through things other than the picture itself. The brush strokes and colors and style all tell their own story without necessarily being the center of attention and I try to incorporate that idea into my playing as much as I can. With composition I/we draw inspiration from a lot of different sources. One of my favorite writing games we did while writing the tunes on this album was listening to an album of tongue twisters and trying to write tunes based on the rhythm of certain ones.

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

AR: When I was 6, I read a story about Paganini and how he played the violin so beautifully that he made people cry. I was really struck by the power of music, and from then on I thought I would like to be a violinist.

TS: I grew up listening to my dad play the banjo but it had never crossed my mind to play music until I was 8 years old. I was watching my dad perform and was overcome with a sense of pride and I asked him to teach me to play. It was never a conscious decision after that to be a musician. I always just assumed that I was going to do that.

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

AR: Before a big show I like to have a few hours of relaxed practice with some slow work on intonation, basics, and the pieces I’m going to perform. I also try to eat well (I like lots of protein before a performance) and go on a walk or a run in nature if possible. With Scroggins & Rose performances it’s important for us to improvise and warm up together as well to make sure we are both attuned to each other and able to connect well on stage.

TS: For a long time I would do confidence exercises/meditations. I’m pretty shy in everyday life so I had to consciously embody the persona of someone who wanted to be the center of attention. For Scroggins & Rose shows we usually warm up together and will do some improvisation games so that we can get in the mindset of reading body language and musical cues on stage.

Which elements of nature do you spend the most time with and how do those impact your work?

AR: I spend as much time as I can walking through redwoods and exploring the rocky dramatic Californian coastline near my home in the Bay Area. For me, music is deeply associated with my experiences in the natural world and many of my tunes are inspired by the feeling of specific places I’ve been to. For instance, “Wisconsin Wayside” is about driving through beautiful green rolling hills and cornfields on winding country roads in Dane County where I grew up. I also spend a lot of time thinking about melodies I’m working on while I hike; the melodies often find their own path while I’m walking on one.

TS: I spend a lot of time looking at nature but not really being a part of it. I’ve gotten to see lots of really beautiful things but usually through a car windshield. Those sceneries and landscapes are often used as inspiration for textures and moods in composition (such as the “wide-open” feeling of tunes like “the French Cowboy” or “Wyoming”). I also find myself writing about birds a lot. I wouldn’t call myself a “bird watcher,” but I do spend a lot of time watching birds and I have written a number of tunes about birds.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

AR: Although the music I write has no words, to me the tunes are often about a character or story that is not my own. I feel music is a powerful way for people to connect to each other around the shared experience of listening, even if what each of us hears is unique. To perform a tune, like an actor, I find I need to experience the story and emotions as my own, even if they were not originally conceived that way.

TS: I think this is a really interesting question as someone who mostly writes instrumental music, because I think the answer is “always.” Or at least almost always. Whenever I write a tune about a personal event or feeling I don’t feel the need for any restraint because, ultimately, people are going to interpret the tune in their own way. That’s the nature of instrumental music. It’s like a magic trick where the interesting part of the performance is only happening in the viewer’s mind. Of course I can lead the audience’s interpretation by telling them what I wrote it about before it’s played, but even then what each note means to me will be different from what it means to them.

Photo credit: Lenny Gonzales

BGS 5+5: Crary, Evans & Barnick

Posted on by Editor

Artist: Crary, Evans & Barnick
Hometown: Placerville, California
Latest Album: Prime Time
Personal nicknames (or rejected band names): Three Old White Guys in a Folk Trio

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

Mark Twain said the two most important days in your life are the day you’re born and the day you discover why. For me it was the day in 1952 (I was 12) when I turned on the radio and accidentally heard Don Sullivan, a Kansas City hillbilly country singer on his noon hour live radio show sing twangy songs and play the steel-string guitar. The sound of the guitar that day struck me like something straight from God. I didn’t even know what it was, but I knew I wanted to play one, to hear more of that beautiful noise. — Dan Crary

My life’s direction pretty much came into focus on February 9, 1964, when I was seven years old. After watching the Beatles’ first live U.S. television appearance, the world wasn’t the same for me after that moment. I went to school on that Monday morning knowing that I would be a musician someday. — Bill Evans

During my year spent with the Mobile Riverine Resources/USN/9th Infantry Division Mekong Delta ’68-69, I met a fellow who had purchased a Hi-Fidelity component stereo system from the PX. He set it up in his hootch. He had pals stateside who were mailing him “care packages” containing the latest vinyl LPs by the boxful. Buffalo Springfield, Jeff Beck, Cream, the Doors, etc. When we thought the coast was clear, we’d load up a “bowl” and then listen to those great sounds coming out of those three-way speakers and the music would take us to another place. I did not play any instrument at that time, but I knew right then that I wanted to figure out how to play. All I had to do was get home in one piece. I did, and once stateside I latched on to the bass guitar and have not ever let it go… over 50 years now. — Wally Barnick

Which artist has influenced you the most – and how?

Musicians who were influential: 1) Fritz Kreisler: When I was 5 years old, about 1945 (!) my mom and grandma took me to a concert in the Kansas City Music Hall of violinist Fritz Kreisler. I never forgot it, it’s like yesterday. 2) Bud Hunt, old-time banjo and guitar guy on The Brush Creek Follies, a ’50s Kansas City country music show. My old Webcor wire recorder caught him one night playing “Wildwood Flower.” I had never heard anything like that, changed my life forever. 3) Sabicas, Segovia, Doc Watson: Their brilliant performances made me want to get serious. 4) The Stanley Brothers: Sheer, stunning beauty for the ages. — Dan

I’ve been playing professionally now for over forty years and the people who have had the most influence on me are those who I’ve gotten to know through playing and touring with them in bands or getting to know them as personal friends: folks like Ron Thomason of Dry Branch Fire Squad, Tony Trischka, Alan Munde, Jim Nunally in California and, most of all, Sonny Osborne. And I’ll count Dan and Wally in this group too — I admire what they have both accomplished in their lives and my respect and love for the both of them knows no limits. — Bill

How often do you hide behind a character in song or use “you” when it’s actually “me”?

Seems like they’re all about me, at least the ones about trying to get it right and loving my lady. — Dan

I’m a composer of instrumental tunes, not songs with lyrics. Often, I set out an assignment for myself in order to get the process started, such as composing a melody over a particularly challenging chord progression or modulation, or something that has an Irish flavor, such as “Winston’s Jig” on Prime Time. In this way, I’m assuming a kind of another identity, most definitely. I feel that way about it, at any rate. — Bill

It is typical that I select and attempt singing songs that mean something to me, even when they are written by someone else. So the short answer is… I sing every song like I mean it, as if it’s mine and as if I’m telling my story. — Wally

What’s your favorite memory from being on stage?

In the ’80s a French festival promoter told me on the phone that Byron Berline and John Hickman and I were, because we worked as a trio, “not real bluegrass.” Then, about three days later we three were onstage playing “Gold Rush” to a few thousand fans at the KFC festival in Louisville. Suddenly, with no advance notice, Bill Monroe himself walked on stage with a big smile, sat down with us and we all played the rest of the set together. At one point Bill announced to that audience that, except for his own Blue Grass Boys, we were his #1 favorite bluegrass band! If I live to be a thousand…. — Dan

That’s tough to narrow down to just one memory. Perhaps the most musically revelatory moment for me on stage was hosting an evening in Berkeley at the Freight & Salvage Coffeehouse around the year 2000 with J. D. Crowe, David Grisman, Ron Block, Ron Stewart, Alan Senauke, and Missy Raines. It was an amazing thing to hear Crowe and Grisman experience the groove they created together on stage. Ron Block, who played guitar that night, commented to me after our show had ended that he had never felt such intense rhythm and awareness of musical space on any stage before. Musicians talk about how powerful a player J. D. is and I was lucky to actually experience it very intensely by being on stage with him. — Bill

Probably the first time that I performed a Cream song (“Sunshine of Your Love”) and I discovered that I could sing and play it, remembering all the lyrics and changes, and the (bar) crowd loved it! — Wally

If you had to write a mission statement for your career, what would it be?

Today I will try to be worthy of the guitar. — Dan

Giving back what’s been given to me and giving more, in whatever way that I can. — Bill

If it ain’t fun, skip it. — Wally

Photo credit: Nola Barnick

BGS Long Reads of the Week // June 12

Posted on by Justin Hiltner

Don’t look now, but we’re approaching the mid-point of June and another week has passed us by. YIKES! Luckily, we have another week’s worth of long reads for you, too!

The long-winding catacombs of the BGS annals and archives have so much to offer. As we share our favorite longer, more in-depth articles, stories, and features to help you pass the time, take a minute to follow us on social media [on Facebook, Twitter, and Instagram] so you don’t miss a single #longreadoftheday pick!

This week’s long reads travel from the canyon drives above Hollywood to Pavement to a former Oregon poet laureate to everyone’s favorite five-stringed instrument. Check ’em out.

Stephen Malkmus of Pavement Ventures Down Acoustic Road on New Album

Stephen Malkmus, of the bristly, brainy 1990s indie rock band Pavement, joins a host of fellow alt-rockers in dabbling with folk and acoustic sounds. On a brand new album, Traditional Techniques, which was produced by Chris Funk of the Decemberists, Malkmus expands on the flickers of folk interest that have permeated his career, though he may not claim mastery of any of them. [Read our #CoverStory interview]

Sara Watkins Wants Us to Ride Along on Watkins Family Hour’s brother sister

Earlier this week we celebrated Sara Watkins’ birthday (June 8, for the record) with a revisit to our recent Artist of the Month interview where she walked us through her recent Watkins Family Hour album, brother sister. For the first time in their lifelong musical careers, Sara and her brother Sean focused on creating music centered on their own duo. brother sister was the result. [Celebrate Sara’s birthday with a read]

Aoife O’Donovan Finds Her Heart in the Verse of Others

Aoife O’Donovan’s latest EP, Bull Frogs Croon (And Other Songs), arrived in March. Our Cover Story unspooled the inspiration she gained via poet Peter Sears, the former poet laureate of Oregon, whose verse is utilized in three songs O’Donovan wrote and arranged with Teddy Abrams and Jeremy Kittel. The project is rounded out by a Hazel Dickens cover and a classic folk song, giving listeners a sampling of each of O’Donovan’s folky expertises. [Read the interview]

The Byrds’ Chris Hillman Reflects on Laurel Canyon and Why He Had to Leave

A new, two-part documentary, Laurel Canyon, traces the comings and goings of several generations of folk rockers down Sunset Boulevard and up into the hills. Chris Hillman (The Byrds, The Flying Burrito Brothers), one of the canyon’s earliest and most famous residents, about the new film, the community, the music, the neighborhood, and why he had to leave. [Read the full story]

Mixtape: Ashley Campbell’s Banjo Basics

With her classic 2018 Mixtape banjoist and singer/songwriter Ashley Campbell reinforced the deeply held BGS belief that– MORE!! BANJOS!! From songs by her late, legendary father Glen and her godfather Carl Jackson to classics from folks like J.D. Crowe, John Hartford, and the Dixie Chicks, this mix has a little bit of everything and a whole lot of five-string. [Read & listen]

 

WATCH: Distant Cousins, “Angelina” (Live)

Posted on by Editor

Artist: Distant Cousins
Hometown: Los Angeles, California
Song: “Angelina”
Album: Here & Now
Release Date: June 5, 2020 (single); June 26, 2020 (album)
Label: Jullian Records

In Their Words: “A few months back, B.C.E (Before Coronavirus Era), we rented out one of our favorite studios for the day and we recorded and filmed it all — nine songs in the day. The vibe in the room was really special. All day long, our musician friends kept coming and going to lend their special talent to our music. It’s hard to believe that that was just a few months ago. Now it all feels like a dream. Certain songs ask for a feeling of intimacy and ‘Angelina’ felt like it needed just that. We found a quiet moment somewhere towards the middle of the day while no one else was around and in the dimly lit room, the song almost played itself. We are very pleased with the result and love how our director, David Schlussel, captured that sense of intimacy that the song represents to us.” — Distant Cousins

Photo credit: Ehud Lazin

LISTEN: Mark Olson & Ingunn Ringvold, “Black Locust”

Posted on by Editor

Artist: Mark Olson & Ingunn Ringvold
Hometown: Joshua Tree, California
Song: “Black Locust”
Album: Magdalen Accepts the Invitation
Release Date: June 5, 2020
Label: Fiesta Red Records

In Their Words: “I moved to the desert in ‘95 and bought a cabin that had been abandoned in the Landers earthquake. There was a water tank for delivered water, a pretty porch and a lot of stray debris in the yard — plus a number of broken aquariums scattered throughout the landscape!

“To make the place livable I hired a local legend by the name of John Edwards. He was a very talented carpenter and mind reader of the natural fauna and flora that live and grow in that high UV environment. One of his many lessons that stuck with me was his method of planting trees in the desert. Suffice it to say, the process of defeating the terrible raging Mojave’s desert sun with prized cool-down trees is rather complicated and labor intensive — and even requires some plumbing and trenching skills to redirect gray water lines.

“On many occasions, John proclaimed that the fruitless mulberry tree was the best for fast growth and significant shade — and that the black locust was an acceptable alternative. To prove his point he took me over to his family home to see his pride and joy: a giant Yucca Valley mulberry that covered his entire front yard, house and half the street.

“The black locust tree is in my mind the subject of this song because of the knowledge that was passed on during that not-forgotten reconstruction project. The black locust grows wild in the Owens Valley along the stream beds where we go camping in the summer to escape the heat. The general outlook of the song is one of starting a new life, building from scratch and hoping it all works out for the best.” — Mark Olson

Photo credit: Sandra Goodin

LISTEN: Nell & Jim Band, “Travelin’ the Road West”

Posted on by Editor

Artist: Nell & Jim Band
Hometown: Berkeley, California
Song: “Travelin’ the Road West”
Album: Western Sun
Release Date: May 29, 2020
Label: Whippoorwill Arts

In Their Words: “The new album has an exciting new band sound, as we have added accordion and keys to the ensemble with Rob Reich, plus the broad array of musical styles mastered by him, our bassist Jim Kerwin and percussionist Alex Aspinall. It took us a few years to really settle into the sound we wanted and this is it. We have the depth to move from folk to polkas to driving bluegrass — but what I really love is that we are just any one of those genres. We are our own blend.” — Jim Nunally

“Lowell Levinger (Banana from the Youngbloods) co-produced the album with us. He was very influential in the recording studio — with tasty, spot-on suggestions and guidance about when to stop. Lowell is a man of few words, and when he speaks we all truly listen. He even suggested lyric changes in two songs and we took his advice and the songs are better for it. What a pleasure!” — Nell Robinson

Photo credit: Kalie Capadona