Tag: Carley Arrowood

MIXTAPE: Carley Arrowood’s Colorful, Vibrant Bluegrass

Posted on by Justin Hiltner

Music is so colorful, whether the lyrics have actual color words, carry a deeper meaning, are just stylistically vibrant, or paint a mental picture without using words at all. Music is meant to reach down and touch your soul in all kinds of ways, evoking special emotions and calling to mind familiar times.

As a songwriter, it’s always my goal to be able to create such colors for listeners and these songs are some of my absolute favorites when it comes to all of the above. Each one has made a huge mark on me through my music journey, adding to my palette of influence and helping me see more the beauty of this art. – Carley Arrowood

“Shadows” – Tony Rice

When my husband and I first started talking, I went to see his band The Trailblazers perform. It was a sweet evening of music, seeing some of my old friends, meeting his family, and of course getting to visit with him. I went home with a CD and played it endlessly in my Jeep Liberty. “Shadows” was in the mix, and I just remember loving hearing him sing it. Fast forward two and a half years, and he’s singing it to our little girl.

Gordon Lightfoot had such a way with words. This is one of those songs where you can just picture your surroundings, and the one you love.

“Fall Creek Falls” – Jim VanCleve

Jim has always been a huge fiddle influence of mine and when I first heard this song, my heart just leapt at the minor [chords] walking to the majors. “Fall Creek Falls” is a bucket list place to visit, but with the progression of the music I can just picture a beautiful waterfall, maybe turning into a big rushing river with all its twists and turns. The musicianship on this track is just incredible.

“Daylight” – Alison Krauss & Union Station

“Daylight falls … Safe in shadow, it’s never as dark as the daylight.” Honestly though, how true is that? This is such a sweet poem full of vibrant imagery. It offers contemplation of realizing and learning that you have to be yourself in life and not try to be someone you’re not, as scary as that can be. Sometimes the dark is way more comfortable, as no one can see your flaws or mistakes, but when you bring it all to the daylight you realize everyone is just the same. “I see it’s safer to connect to the daylight.” My sister and I grew up listening to Alison, and this one was always a favorite.

“Redbird” – Cadillac Sky

Dang, I love this song. These guys were so influential to my sister and I – and her husband, who plays bass in my band. My dad also really loves this song! We all used to sing it in the car together, each grabbing a different harmony part. There were only two in the original recording, but Autumn would add in the tenor for a cool extra layer.

“Redbird” tells the story of heartache turned to hope, as the singer declares, “You can burn me down to ashes, bury me beneath your clay / But I’ll rise again like Lazarus, and live to love another day.” I love how you can feel the hurt and frustration of the lyrics in the solos. I had the absolute privilege of playing with Matt Menefee for a couple years when I was touring with Darin and Brooke, and I asked him one time, “Do you remember any of your solos from Cadillac Sky?” hoping he’d just go off on the one in this song. He just kinda laughed and answered, “Nope!” So that tells me he was just crushing some improv in the studio. So, so good!

“God of All My Days” – Casting Crowns

I listen to this song whenever I feel burdened by the weight of the world, or even just by the weight of my to-do list for the day. It reminds me that everything I do has a purpose from the Lord and He is over it all, and that when “my seasons change, [He] stay[s] the same.” I’m reminded that there’s nowhere else for me to find comfort when all else fails. He’s the God of all my days.

“Colors” – Carley Arrowood

I’ll stick this one right here, because it goes with the theme of the last song. When my husband and I wrote “Colors,” we were sitting in our living room watching a gorgeous sunset glisten through our windows. It’s amazing just how much more this song has come to mean to me personally since I wrote it. I had a friend in mind who was dealing with a lot of anxiety while we were writing it, and while it wasn’t directly written to her, she stayed on my mind throughout the process. And when she came out of her anxious state victorious, she said the song really spoke deep. “Colors” is just a reassurance that whatever we are going through, the Lord means for our good and His glory, even though we may not understand it in the present thick of it.

“Harvest Sky” – Nick Dumas

My buddy Nick wrote a killer instrumental jam that paints a gorgeous Wisconsin sunset! I’m so glad he asked me to play fiddle on this. Let your mind run wild with this one!

“Two Boys from Kentucky” – Randy Kohrs

The Brother’s War, families split between blue and gray, the tragic shades of our American story. Randy’s writing in this kills me every time, especially with what happens – lyrically and musically – “while the cannon fire rang down.” It’ll move you to tears as the story progresses.

“Space and Time” – The Trailblazers

In 2020 the Trailblazers (my husband’s band) came out with a stellar album of progressive bluegrass originals and covers, and the title track, “Space and Time,” is one that sticks after you hear it. Flooded with colorful imagery, the song follows a contemplative traveler through weary lands who longs for a perfect home. It’s one of my favorite songs on this album, and no, not just because my husband wrote it! 😉 It’s been sweet to see his growth as a musician and writer since we’ve been together.

“Chasin’ Indigo” – Carley Arrowood

I added this one off my new album, Colors, just because of the fun color language! Daniel and I wrote this from our love of sunset watching, and we hope it encourages you to pick your head up from your work and enjoy time with your loved ones. We’re not promised tomorrow, so chase today’s colors to the very end.

Photo Credit: Laci Mack

LISTEN: Carley Arrowood, “Moondancer”

Posted on by Justin Hiltner

Artist: Carley Arrowood
Hometown: Newton, North Carolina
Song: “Moondancer”
Release Date: October 27, 2023
Label: Mountain Home Music Company

In Their Words: “‘Moondancer’ tells the story of a Cherokee girl who sneaks out at night and is obsessed with capturing a wild white horse. I started writing it one evening several years ago after looking for arrowheads in my Mamaw’s garden, ironically around this time of year. As that chilly breeze blew, the line, ‘Her longing echoes on the breeze, but it never finds relief,’ just took root in my mind, and the girl’s repetitious, hopeless calling is what shaped the chorus and the rest of the tune. Eventually she learns to just love the horse she names from afar, but the deep longing in her heart still lingers as she realizes Moondancer can never be hers. I’m so grateful to Daniel, Nick, Tabitha, Jeff, and Tony for lending their talents, and to Jim and Clay for producing and mixing what has become one of my favorite tunes on my upcoming record.” – Carley Arrowood

Track Credits:

Carley Arrowood – fiddle, vocal
Daniel Thrailkill – acoustic guitar
Jeff Partin – acoustic bass, Dobro
Nick Dumas – mandolin
Tony Creasman – drums
Tabitha Benedict – banjo

Photo Credit: Laci Mack Photography

LISTEN: Carley Arrowood, “Tsali’s Run”

Posted on by Editor

Artist: Carley Arrowood
Hometown: Newton, North Carolina
Song: “Tsali’s Run”
Release Date: May 12, 2023
Label: Mountain Home Music Company

In Their Words: “I wrote this tune last summer as a fun attempt at something with a Celtic/bluegrass feel. Little did we know it would come to have a Cherokee title! Last June Daniel and I went on our first anniversary trip to Cherokee, North Carolina, and saw Unto These Hills as a part of it. I have a little Cherokee in my veins, and it was so moving to learn more about Tsali, a Cherokee hero who gave up his life to save the rest of his people before the Trail of Tears took place. He and his two oldest sons willingly surrendered to a firing squad after running ‘unto the hills’ to hide. Go see the play if you haven’t! This tune found its name when we got home from our trip, as we both could just picture Tsali and his boys running through the woods. The studio band was incredible, and Tony Creasman made the song feel extra chilling with his hand drum. If you listen closely, you’ll hear three subtle crash cymbals as the song closes, and they mimic the sound of the gunshots that marked the bitter but courageous end of Tsali and his boys. ‘Tsali’s Run’ is so energetic and thrilling to play, and I hope that listeners will love and be moved by it as we are.” — Carley Arrowood

Crossroads Label Group · Tsali’s Run – Carley Arrowood

Photo Credit: Katie Duncan Photography

BGS 5+5: Carley Arrowood

Posted on by Editor

Artist: Carley Arrowood
Hometown: Newton, North Carolina
Latest Album: Goin’ Home Comin’ On
Personal nicknames: My really close friends call me “Carl,” mostly against my will. Also I did marry Mr. Daniel Thrailkill, and I did take his name! But it was his idea for me to keep Arrowood for my music stuff.

What artist has influenced you the most, and how?

Oh, gracious. There are literally SO many artists/fiddlers who have left an impact on me in some special way. I definitely have to say Alison Krauss for one. She effortlessly executes everything. Y’all already know. I’ve also really learned and have been trying to remember the past several years that not everything has to be super fancy, as long as it’s tasteful and intentional, so another fiddler I look up to is Stuart Duncan. Again, effortless, gorgeous playing, and the man knows where longer, breathier bows fit perfectly. I’m loving picking up on that. Jim VanCleve is another one. The first time I heard his playing as a teenager I thought, “How in the world is he making his fiddle sound like an electric guitar?!” And I learned that trick, too. The group Celtic Woman also had an enormous impact on me as a little girl, and because of their original fiddler Mairead Nesbitt, I have an extra love for the Celtic flair. I still can’t dance and play, though. I could keep going but I have four more questions to answer. Haha!

What’s your favorite memory from being onstage?

Again, too many to count, but one that has come back to mind a lot recently is when I was playing in my teen group Most Wanted Bluegrass. We were about to finish a set down in Walhalla, South Carolina, maybe had three songs left. My sister Autumn was taking a mandolin break so I was chopping behind her. Next thing I know, I hit my E string with the frog of my bow and I literally chopped it in half. It was SO funny! The sad part was, I’d just cleaned out my fiddle case and didn’t have an extra string, so I just stood up there and clapped along with the band. Good times!

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

I wouldn’t call it a ‘ritual’, but I do try to remember to talk to the Lord and pray before (or during) anything like recording or performing onstage. Because a lot of times I get so caught up in the hype and the applause and good times, and even in getting it right, that I admit I forget where it all comes from in the first place. God gave the gift of music, so I ask Him to help me remember to glorify Him in everything I do. I’m just a sinful human, but He is so worthy of everything.

What has been the best advice you’ve received so far in your career so far?

Like I said earlier, I’ve tried to really hone in and know that not everything has to be flashy and fancy, especially since stepping into a solo career. Years ago when I was recording for Darin and Brooke Aldridge, Darin told me “less is more,” and that has stuck with me a lot, even as a fiddle teacher. Also here recently, I had the privilege of talking to Sierra Hull and she told me to just play “whatever I could, whenever I could, wherever I could,” and I just really loved that! If I’m going all in with this thing, I just gotta do it and not be afraid. I’m thankful for both of those phrases.

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

Daniel and I love to hike and be in the mountains when we can. We love chasing waterfalls and sunsets and just seeing the vibrant colors of the last light of day. We also love spending time on our front porch in the warmer months, feeling the breeze and the sunshine on our faces. All of that just makes me feel really small, and magnifies the majesty of Jesus and His love toward us, so it’s just really refreshing and inspiring for new creativity. I personally love when springtime comes around and everything is made new again. It’s like new possibilities on the horizon!

Photo Credit: Laci Connell, High Lonesome Sound Photography

LISTEN: Carley Arrowood, “Letting Go Now”

Posted on by Editor

Artist: Carley Arrowood
Hometown: From Union Mills, North Carolina, and currently living in Newton, North Carolina
Song: “Letting Go Now”
Release Date: November 5, 2021
Label: Mountain Home Music Company

In Their Words: “‘Letting Go Now’ is a bittersweet love song, co-written with my lovely friend, Becky Buller! It’s a lighthearted tune about how sometimes we can just be desperate to hang on to someone we’re sure is the right one, regardless of red flags. We try to silence all the warning signs, but they wind up speaking volumes, and we realize they aren’t as devoted as we are, and it’s hurting us worse if we don’t let go. I love how Becky added a ray of hope to the poor heart in the song, though: ‘There’s a greater picture, a plan that I can’t see…’ refers to God’s awesome plans for our lives, regardless of how we think they should go. I really enjoyed writing this with Becky. I’m so thankful for her friendship and look forward to sharing more co-writing experiences with her in the future!” — Carley Arrowood

Crossroads Label Group · Letting Go Now – Carley Arrowood

Photo courtesy of Carley Arrowood

‘Bluegrass at the Crossroads’ Series Displays a Big-Tent View of Bluegrass

Posted on by Editor

Over the last several years, it’s been fun watching the rapid creative growth happening at sister labels Mountain Home Music Company and Organic Records. Their rosters are musically diverse — a reflection of the music-rich mountains of Western North Carolina where the label group is based — thanks to the effort they’ve put into signing adventurous bands that redraw musical boundaries on stage every night, along with artists that are able to sound like themselves while keeping tradition’s torches shining. The prevailing attitude in the building, among staff and artists alike, is decidedly forward-looking; the music these groups and artists create is mutually influential, and the territory between them fertile ground for collaboration.

Mountain Home’s new series of releases, Bluegrass at the Crossroads, takes advantage of this by putting these artists together in unique and intriguing combinations to record mostly new music. The label’s team gets that this homegrown stylistic breadth is a great asset, and they aren’t shy in their commitment to the highly cooperative, big-tent view of bluegrass that’s proudly on display in the series.

Bluegrass styles cover a remarkable amount of ground — from Red, White, and Bluegrass to Red Rocks, if you will — while still remaining totally recognizable as the genuine article. As a result, there’s enough range within the genre that a gap exists to be filled by an ongoing project of this kind. And, since touring has been largely benched for the time being, this is the moment to gather these threads together, invite great players into the studio for new creative partnerships, and press “record.”

Music in general has become so cross-pollinated that you never know what you’ll find on another musician’s playlist or turntable, and as more musicians and producers jump their creative tracks to explore different genres, bringing their tastes and vocabularies along with them, they’re invariably influenced by the new sounds and ideas they encounter, and they exert their own influence in return.

Bluegrass is good at absorbing new ideas while holding on to its identity — the sometimes regrettable, sometimes successful, move of giving the bluegrass treatment to rock and pop hits is a perfect example – and so, as the music grows, bluegrass musicians of all kinds freely pull new ideas from all directions, incorporate them into their own expressions of the style, and wind up with something that is still absolutely bluegrass.

It’s easy to pick out classical music, jazz, indie rock, folk, metal, even electronic music, in the sounds of some of today’s bands. Other bands choose reach into the past to create new interpretations of Celtic music, old-time, classic country, and Tin Pan Alley. Turn your ear to a record from any performer on Bluegrass at the Crossroads and you’ll hear these influences effortlessly knit into the songs and arrangements.

It’s not surprising, then, that Bluegrass at the Crossroads is good, but it is striking how much fun it is to listen to. One-off bands like these can be like wrapped presents: lots of promise on the outside, but what’s inside might or might not meet expectations. Happily, there’s nothing to be disappointed about on these tracks; they’re full of life, maybe given a boost by a collective sense of cabin fever.

It also likely helps that most of the material is new. A few tunes from the standard repertoire appear, but few of the songs have been heard before. This keeps a lot of baggage out of a performer’s approach to a tune — each one is a blank slate, with no so-called “definitive” version to consult, and that extra space leaves room for a kind of subtle magic to happen.

Bluegrass may have a restless heart, but it also tends to hew close to tradition where it can be found (if you don’t believe me, listen to five different bands kick off “Steam Powered Aereo Plane,” you’ll see what I mean), and songs with unwritten histories don’t have conventions that must be attended to. So players are more free to search for new ideas, calling on their wide-ranging taste and experience, to create statements that seem more personal, the best of which sound as if they had always been there — just like the best songs.

These sorts of moments are everywhere in this series, and even though the players are all going for it, they’re also paying close attention to each other. The level of ensemble play is high, there are moments that have the intensity of a live performance, and a feeling that everyone involved was making themselves fully present for the project. That sense of life can be hard to come by in studio recordings, and the energy that’s captured is a refreshing reminder of what playing music is really about. It comes at a time when I know a lot of us could use something like this, and I’m excited for more!

A socially-distanced Bluegrass at the Crossroads session. (L to R: Joe Cicero, Sammy Shelor, Travis Book, Jon Weisberger, Carley Arrowood, Wayne Benson)

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Photo and graphics courtesy Crossroads Label Group

BGS & #ComeHearNC Celebrate the Cultural Legacy of North Carolina during #NCMusicMonth

Posted on by Editor

On the national music scene, North Carolina sets itself apart by blending the heritage of traditional roots music with the innovation of modern indie and Americana sounds. The bluegrass canon of North Carolina encompasses pioneers like Charlie Poole and Earl Scruggs, as well as groundbreaking musicians like Elizabeth Cotten, Alice Gerrard, and Doc Watson. Today’s spectrum of talent spans from modern favorites such as Darin & Brooke Aldridge, Balsam Range, and Steep Canyon Rangers, and the progressive perspective of the Avett Brothers, Rhiannon Giddens, Mandolin Orange, Hiss Golden Messenger, Mipso, and many more.

One example of how the state is merging past with present is the recent opening of North Carolina’s only vinyl pressing plant — Citizen Vinyl in Asheville.

 

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Built over 15 months in 1938-1939, The Asheville Citizen Times Building (@citizentimes) was designed by architect Anthony Lord as the grand center for the city’s two newspapers and radio station WWNC. Located at 14 O’Henry Avenue, the massive three-story building of reinforced concrete, granite and limestone, utilizing 20,000 glass bricks, is considered Asheville’s finest example of Art Moderne design. In 2019, Citizen Vinyl claimed the first floor & mezzanine of this iconic landmark as the future home of a vinyl record pressing plant, as well as a café, bar and record store – and is reviving the historic third floor radio station as a modern recording and post-production facility.

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According to press materials, the building’s third floor played host to Asheville’s historic WWNC (“Wonderful Western North Carolina”) which was once considered the most popular radio station in the United States. In 1927, the station hosted live performances by Jimmie Rodgers and made his first recordings shortly before he went to Bristol, Tennessee.  In 1939, the station featured  the first ever live performance by Bill Monroe and the Bluegrass Boys during its Mountain Music Time segment.  Citizen Vinyl expects to keep the live music tradition alive in this former newspaper building, too.

Here at BGS, we’ve been committed to North Carolina music from our launch, notably with our Merlefest Late Night Jams, which are always worth staying up for. And how much do we love the IBMA World of Bluegrass week in Raleigh? Looking back on our archive, we gathered these songs from the artists we’ve covered over the years — and looking ahead, you’ll see all-new interviews with the Avett Brothers and Mipso, examine the classic country stars with roots in North Carolina, and spotlight some rising talent with video performances at the state’s most scenic destinations.

In the meantime, you can discover more about the North Carolina music scene through their website and on Instagram at @comehearnc

Editor’s note: This content brought to you in part by our partners at Crossroads Label Group.

LISTEN: Carley Arrowood, “Goin’ Home Comin’ On”

Posted on by Editor

Artist: Carley Arrowood
Hometown: Union Mills, North Carolina
Song: “Goin’ Home Comin’ On”
Release Date: August 21, 2020
Label: Mountain Home Music Company

In Their Words: “’Goin’ Home Comin’ On’ is one of those sweet, nostalgic tunes that I think a lot of people are going to relate to very easily. I love it because of the happiness and pure joy that overflows from the uptempo and rhythm of it as it talks about getting back to the place where you’ll always belong, and where the love of family will always be. During this time of being at home, it’s so important to remember that. Yes, sometimes it’s hard, but we’re a family and we’re blessed to all be together at this place that makes us complete. It is a precious time and I’m thankful for it, and for all the new memories, laughs, meals, and hugs that have been shared. I’ve missed being on the road playing music and very much look forward to the day that I can do that once again, but there’s still nothing quite like the feeling of a ‘Goin’ Home Comin’ On.'” — Carley Arrowood

Photo credit: Carley Arrowood