Tag: Chris Jones & The Night Drivers

You Gotta Hear This: New Music From Seldom Scene, Swearingen & Kelli, and More

Posted on by Justin Hiltner

You’ve reached the end of the week! For a little treat, how about a few brand new songs and music videos? You Gotta Hear This!

If you’re looking for bluegrass, we’ve certainly got it this week– Chris Jones & The Night Drivers share their first recording of a Tom T. Hall original, “Mama Bake a Pie (Daddy Kill a Chicken),” since their dear friend and Bluegrass Hall of Famer passed away a few years ago. Plus, bluegrass legends Seldom Scene preview their upcoming album, Remains to Be Scene, with a new single, “Last of the Steam-Powered Trains.” And, wrapping up our bluegrass trifecta, banjo player Max Wareham pays tribute to NHL team the Boston Bruins with an excellent shredding instrumental tune, “The Black & Gold.”

From elsewhere across the roots music landscape, duo Swearingen & Kelli offer “Break Me Down,” a powerful acoustic number with plenty of grit, slide guitar, and blues influence. Plus, don’t miss Justin Wells’ new music video for “Sad, Tomorrow,” a contemplative slow burn of a song that focuses on mental health, melancholy, and forging ahead.

It’s a lovely collection of new roots music to take you into the weekend, and you know what we think – You Gotta Hear This!

Chris Jones & the Night Drivers, “Mama Bake a Pie (Daddy Kill a Chicken)”

Artist: Chris Jones & The Night Drivers
Hometown: Nashville, Tennessee
Song: “Mama Bake a Pie (Daddy Kill a Chicken)”
Release Date: January 17, 2025
Label: Mountain Home Music Company

In Their Words: “This is an old and lesser-known Vietnam War-era song of Tom T. Hall’s and the first song of his I’ve recorded since his passing a few years ago. I think I didn’t feel ready to until now. He had a unique ability to incorporate bits of humor into a sad story, and this is definitely one of those. This song is vivid and poignant in a way that is vintage Tom T. I was going to record this several years ago, but when I brought it up to Tom T. and Dixie, they wrote ‘Hero in Harlan’ that very day to give me something new to do instead.” – Chris Jones

Seldom Scene, “Last of the Steam-Powered Trains”

Artist: The Seldom Scene
Hometown: Bethesda, Maryland
Song: “Last of the Steam-Powered Train”
Album: Remains to Be Scene
Release Date: January 14, 2025 (single); March 14, 2025 (album)
Label: Smithsonian Folkways

In Their Words: “This song was written by Ray Douglas Davies and recorded by the rock group The Kinks in the 1960s. The Scene has always looked outside the box for material, and we thought this one fit the bill.” – Lou Reid

Swearingen & Kelli, “Break Me Down”

Artist: Swearingen & Kelli
Hometown: Nashville, Tennessee
Song: “Break Me Down”
Release Date: January 24, 2025
Label: Gone Rogue Music

In Their Words: “I wrote this song a few years back, but it never really got its due. I was also really obsessed with slide guitar at that time. It’s a little gritty, and when Jayne added her vocals on top, I thought, ‘Ok, this is exactly what this song needs.’ I love the discovery process of writing and recording. Sometimes it takes a while to find the exact combination of sounds with an arrangement to tell the story the way you really want to.” – AJ Swearingen

Track Credits:
AJ Swearingen – Guitars, drums, percussion, bass, vocals
Jayne Kelli – Vocals, organ

Max Wareham, “The Black & Gold”

Artist: Max Wareham
Hometown: Boston, Massachusetts
Song: “The Black & Gold”
Album: DAGGOMIT!
Release Date: January 17, 2025 (single); February 21, 2025 (album)

In Their Words: “Sports and music might have more in common than we think – this tune is a tribute to the Boston Bruins’ legendary ’22-’23 season, during which they broke most NHL records. Musically, the A part was inspired by Bill Emerson and the B part is a nod to the style of banjo legend, Rudy Lyle.” – Max Wareham

Track Credits:
Max Wareham – Banjo
Laura Orshaw – Fiddle
Chris Henry – Mandolin
Chris Eldridge – Guitar
Mike Bub – Bass
Larry Atamanuik – Snare

Justin Wells, “Sad, Tomorrow”

Artist: Justin Wells
Hometown: Lexington, Kentucky
Song: “Sad, Tomorrow”
Album: Cynthiana
Release Date: January 15, 2025 (single); February 20, 2025 (album)

In Their Words: “The title of the song comes from a story Nicole Kidman told Marc Maron on Maron’s podcast, WTF. Kidman talked about how she often took her characters home with her, acting in front of a mirror. Her young child had grown accustomed to seeing and hearing her mother work on these roles. A day or so after Kidman’s father died, she was grieving at home, and her kid heard this. Her kid asked ‘Mom, why are you crying?’

“‘Well, I’m crying because I’m sad, because Papaw died.’

“Her child, accustomed to seeing her Mom go in and out of emotions while working on her acting, replied, ‘Well, are you gonna be sad tomorrow?’

“I wanted to write this song about that feeling of helplessness you have when a friend is struggling with depression, when the only thing you can do sometimes is just be there. I ended up asking my dear friend Adam Lee to help me finish it, which was considerably apropos, because we’d both been each other’s therapist through lockdown, when we were kinda losing our minds. Considering all of the above, the song carries an even bigger weight because it’s one of the last songs that my friend Robby Cosenza played on before he passed. Robby was a Lexington icon, playing on hundreds of albums including a Ringo Starr record as well as my debut album, Dawn in the Distance, and he was instrumental in helping me get my legs under me when I started my solo career.” – Justin Wells

Photo Credit: Seldom Scene by Jeromie Stephens; Swearingen & Kelli by Daniel Shippy.

You Gotta Hear This: New Music From Julian Taylor, the Grascals, and More

Posted on by Justin Hiltner

We’ve got a fine collection of new tracks, videos, and performances for you this week in our premiere round-up, You Gotta Hear This!

Don’t miss some stellar bluegrass from genre staples – and labelmates – the Grascals, who are celebrating their 20-year anniversary, and Chris Jones & the Night Drivers. The former celebrate their heroes, the Osborne Brothers, with a cover of “Georgia Pineywoods” while the latter get topical while poking fun at doomsday rhetoric on “What If You’re Wrong.”

Jazzy roots duo Winterlark bring us a charming number with a somewhat unlikely subject– emojis. Well, and love gone not-so-right, too. Felled Oak, AKA Brian Carroll, also debuts “Taplines,” a track written while he worked the maple syrup season in Vermont. Singer-songwriter Amy Speace considers the construction of “The American Dream” with a brand new, summery music video and Spooky Mansion performs the title track from his upcoming album, What About You?, live outdoors on the ranch.

Don’t miss Julian Taylor’s debut of a brand new music video for “Pathways,” a song released earlier this week about family, connection, and inter-generational perspective that features the one and only Allison Russell.

To cap it all off, we’ve got an exclusive Yamaha Session from flatpicker Trey Hensley that posted to BGS earlier this week, too. It’s all right here and, we’ve said it before and we’ll say it again, but You Gotta Hear This!

Felled Oak, “Taplines”

Artist: Felled Oak
Hometown: Corinth, Vermont
Song: “Taplines”
Album: Smoke on the Hillside
Release Date: September 30, 2024

In Their Words: “All of the tunes on this project were birthed from time tapping trees in the sugarbush this past January here in Vermont. In the dead silence of winter, alone in a cluster of skeletal maples hiking uphill, I found myself humming and whistling melodies to keep myself (and the winter birds) company. Some of those melodies stuck and I’d pull out my phone, make a quick voice recording then when I got home transcribe them on the mandolin and octave mandolin.

“‘Taplines’ was a melody that fell beneath my own fingers effortlessly and when I brought it to good friend and musical partner, Mark Burds, a smile crept across his face as we played it together for the first time. All of these tunes were recorded in luthier workshops and small, personal spaces around central Vermont and featuring my closest musical friends. It’s music to be shared and played together, to connect. Intimate, organic, and honest.” – Brian Carroll, Felled Oak

“‘Taplines’ was really fun to put clawhammer on, because it’s one of those simple yet beautiful melodies that falls so nicely on banjo and it’s so satisfying to groove on.” – Mark Burds, banjo

Track Credits:
Brian Carroll – Octave mandolin, mandolin, upright bass, acoustic guitar
Mark Burds – Banjo

The Grascals, “Georgia Pineywoods”

Artist: The Grascals
Hometown: Nashville, Tennessee
Song: “Georgia Pineywoods”
Album: 20
Release Date: August 23, 2024
Label: Mountain Home Music Company

In Their Words: “I don’t believe The Grascals would be in existence without The Osborne Brothers. Their heavy impact and influence on us is one of the main reasons we all love bluegrass music so much. ‘Georgia Pineywoods’ is a classic Boudleaux and Felice Bryant song originally recorded by The Osborne Brothers and it just felt very fitting for us to include it on this album celebrating our 20th band anniversary. We will always salute The Osborne Brothers’ music and their continued inspiration to The Grascals!” – Jamie Johnson

Track Credits:
Kristin Scott Benson – Banjo
Danny Roberts – Mandolin
Jamie Johnson – Guitar, lead vocals
Terry Smith – Bass, baritone vocals
John Bryan – Guitar, tenor vocals
Jamie Harper – Fiddle, vocals

Chris Jones & the Night Drivers, “What If You’re Wrong”

Artist: Chris Jones & The Night Drivers
Hometown: Nashville, Tennessee
Song: “What If You’re Wrong”
Release Date: August 23, 2024
Label: Mountain Home Music Company

In Their Words: “Jon Weisberger and I co-wrote the song as a conversation with a conspiracy theorist. It’s meant to be a light-hearted look at the subject – I’m pretty sure it’s the first bluegrass song to mention chem trails! – but it does ask a serious question: When something earth-shaking is predicted, whether it’s the end of the world, a change of government, or just the results of a major ballgame, what do you do when it doesn’t happen? Do you question your sources or double down? We have so much of this in the era of social media and different realities we live with, it seemed pretty timely, and we had fun with it.” – Chris Jones

Amy Speace, “The American Dream”

Artist: Amy Speace
Hometown: Nashville, Tennessee
Song: “The American Dream”
Album: The American Dream
Release Date: October 18, 2024
Label: Wind Bone Records

In Their Words: “I’ve worked with Neilson Hubbard and Joshua Britt (their production company is Neighborhoods Apart) on a bunch of videos, so I trusted them to get the vibe of the song. Also, Neilson produced the record and Josh played on it, so I knew they got it. We all wanted to capture that feeling of the freedom of the end of summer. I grew up mostly in a small town with rural countryside all around it and we’d take long drives through the cornfields as the sun set. We shot this on a country drive and an abandoned cabin (also used in the album art) near Franklin, Tennessee. The appearance of the tractor and the train are coincidences.” – Amy Speace

Video Credit: Neighborhoods Apart, Neilson Hubbard and Joshua Britt

Spooky Mansion, “What About You?”

Artist: Spooky Mansion
Hometown: San Francisco, California / Bay Area
Song: “What About You?”
Album: What About You?
Release Date: August 22, 2024 (song); October 31, 2024 (album)

In Their Words: “I wrote ‘What About You?’ with the intention of painting a picture of my life through different stories. The places I’ve been and the people I come from have all made me who I am. In those early days of a relationship, when you’re getting to know someone, there are certain memories that you retell to explain who you are.

“The verses are meant to be quiet, subdued, and more introspective as I try to describe myself. The chorus is bigger and joyful as I turn the attention to the person I’m talking to. In all my experiences, ‘I didn’t even know that I was looking for you.’ It culminates in a repeated anthem at the end as a reminder that despite what you’ve already lived through, there is more in life that will keep changing you and continuously creating you into the person you are. In this case, it was a beautiful woman I’d recently met who is now my wife and love of my life.” – Grayson Converse, Spooky Mansion

Video Credit: Directed by Jacob Butler.

Julian Taylor, “Pathways” (Featuring Allison Russell)

Artist: Julian Taylor
Hometown: Toronto, Ontario, Canada
Song: “Pathways”
Album: Pathways
Release Date: August 21, 2024 (song); September 27, 2024 (album)
Label: Howling Turtle Inc.

In Their Words: “I remember sitting in my living room when the melody and chord patterns just came to me. Often, when I sit down to write music, it’s the first thing that I start playing that sticks, because it’s raw and honest. I worked the progression in several different ways. First on the acoustic guitar and then on the piano. I still have probably upwards of seven or eight takes of it somewhere on my voice notes. Some were quite punk sounding, while others were quite folk sounding. Ultimately, the sound of the melody and progression in 6/8 time seemed to have the most impact on me.

“This song became a lyrical collaboration between two friends of mine that are also neighbors. I was invited to hang out and write with my pals Robert Priest and Rosanne Baker Thornley, who has a studio down the road from me. When I arrived, I showed them what I had been working on and they loved it. We ultimately wanted to write a hopeful song that spoke to our next of kin, and since we all have children who are the most important people in the world to us, we followed that inspiration. I performed with my friend Allison Russell at the Juno Awards this year and asked her if should be interested in collaborating on the song seeing as she is a mother as well and I am so honored that she said yes and brought yet another magical spark to our creation.” – Julian Taylor

Track Credits:
Julian Taylor – Vocal, guitar
Allison Russell – Duet vocal
Colin Linden – Electric Dobro, mandotar, bass, harmony vocal
Gary Craig – Drums, percussion
Jim Hoke – Saxophones
Janice Powers – B3 organ

Winterlark, “Ending With Heart Heart Heart”

Artist: Winterlark
Hometown: Santa Cruz, California
Song: “Ending With Heart Heart Heart”
Album: Sing To Me About Tomorrow (EP)
Release Date: August 23, 2024 (song); September 20, 2024 (EP)
Label: Squink Records

In Their Words: “It seemed that the world was ready for a song about the insidiousness of emojis, so I tried to write a modern-day song about a poorly communicated break-up, like the one in Elvis Presley’s rock-n-roll classic ‘Return to Sender.’ One of the keys to the song is the pairing of the sad lyrics with the happy, infectious beat driven by Kristin and drummer Chris Haskett. They make everything swing.” – Sweeney Schragg

“When Sweeney shared the core idea of this song, I do believe I laughed – uncomfortably. Aren’t we all guilty of throwing emojis at people instead of real words? Sweeney left six spots open for bass fills, a better gift than a box of black licorice (my favorite).” – Kristin Olson

Track Credits:
Sweeney Schragg – Guitar, vocals
Kristin Olson – Upright bass, vocals
Chris Haskett – Drums

Yamaha Sessions: Trey Hensley, “Hold What You Got”

On a sunny Sunday afternoon just outside of Nashville, Tennessee earlier this summer, BGS linked up with award-winning guitarist, songwriter, and jaw-dropping flatpicker Trey Hensley to kick off a new series of Yamaha Sessions. Hensley, a GRAMMY nominee and the reigning IBMA Guitar Player of the year, pulled his custom Yamaha FG9 R out of its road case to shred through a cover of a classic Jimmy Martin number, “Hold What You Got.”

Hensley is a picture perfect modern demonstration of how bluegrass trailblazers, like Martin, blurred the lines between country, old-time, bluegrass, and beyond. His voice reminds of honeyed country singers like Randy Travis, while his blisteringly quick picking and remarkable articulation are built on Tony Rice and Clarence White building blocks – but simultaneously, those techniques are as forward-looking and contemporary as his peers, Billy Strings, Jake Workman, and others. Hensley pulls limitless tone and warmness from his Yamaha FG9 R, even while approaching the song with near-aggression, ripping through acrobatic triplet licks and leaning into ugly delicious chromaticism in every solo.

More here.

Photo Credit: Julian Taylor by Robert Georgeff; the Grascals by Laci Mack.

Today’s Bluegrass Gospel Is All About Good News

Posted on by Justin Hiltner

While playing music in a bar, Tammy Rogers of The SteelDrivers learned a lesson that would guide her life choices. After Rogers graduated from college, she was happily earning her living as a musician. But she wondered if it was enough.

“I felt like it was all about me, rather than what I could give back and put into the world.” She had considered teaching or studying music therapy, thinking that, “Maybe I needed to be actively doing something to help.”

Here’s where the bar band comes in.

“I remember this like it was yesterday. I sang a gospel song.” Rogers said. “And after the set, a couple came up to me and said, ‘Thank you so much for singing that song. It meant so much to us.’ And it was like a light bulb came on – answering the question, ‘What should I be doing with my life?’”

For Rogers, the interaction with that couple in the bar was God giving her the message that she was doing what she was meant to do.

“The music that you write, the music that you play can touch people and help them, whether it’s in happiness or sorrow.”

Bluegrass musicians often incorporate old and new gospel songs into their performances. Whether it’s the melodies, the spine-tingling harmonies, the familiarity, or the content, gospel music has an enduring appeal to the full spectrum of bluegrass fans, regardless of culture or religion.

Last year, The SteelDrivers, as well as the young band High Fidelity, produced gospel albums – Tougher Than Nails and Music In My Soul, respectively – and Chris Jones released a gospel track, “Step Out in the Sunshine.” For them, the music is personal. They all come from a place of faith and sincere connection to the good news of the gospel, as well as loving the music itself.

In the rural communities where bluegrass began, life often centered around church, as a place of prayer, music, and friendship. Eventually, Southern gospel music also took on a life independent of worship.

Wayne Erbsen wrote in his charming book, Rural Roots of Bluegrass, “By the 1850s, songwriters were composing new gospel songs to appeal to the thousands who flocked to the rapidly growing number of shape-note singing conventions throughout the south.”

These lucrative gatherings – possibly more entertainment than spiritual – continued well into the 20th century. Erbsen told BGS that people would bring the books they already owned, but when they arrived, “they had to buy more books” to learn the new songs. The publishers hired excellent performers to attend the conventions and inspire the singers.

Erbsen wrote, “The songs and styles that were part of this shape-note singing convention tradition eventually merged with bluegrass instrumental and vocal styles to create a new genre now known as bluegrass gospel.”

Bill Monroe, like others of his generation, was exposed to religious-themed music. While performing with brother Charlie, Monroe’s first hit record was “What Would You Give in Exchange for Your Soul?” And just as he learned the blues from Black fiddler Arnold Shultz, he was “fascinated by the music of the Black churches,” Chris Jones said. That’s where Monroe learned “Walking in Jerusalem,” popular today for its rich harmonies.

High Fidelity – Jeremy Stephens, Corrina Rose Logston Stephens, Kurt Stephenson, Daniel Amick, and Vickie Vaughn – is steeped in traditional bluegrass. Corrina’s parents got hooked on Reno & Smiley and the Stanley Brothers looking through department store record bins – and Corrina has stayed close to the traditional fold ever since. “It feels like it’s in my blood,” she said.

Jeremy learned to sing harmony from his grandfather. After he picked up the fiddle, a school bus driver made him a cassette tape of classic bluegrass. “And that tape was transformative to me,” he shared.

All of High Fidelity’s music is infused with the harmonies, instrumentation, and themes of early bluegrass performers. The friends who make up High Fidelity (the name comes from the words often on labels of early bluegrass records) came together as a band to compete in the SPBGMA band contest. They never imagined they would take first place. So, “It was this overwhelming gift that we won,” Corinna said. “It almost felt like divine intervention.”

“And everyone in High Fidelity is spiritual,” she continues. “We’re all Christian folks. We all identify with the songs that we’re singing.” So, from the earliest days, she said, they felt a gospel album was in their future, to “honor the Lord and thank him for giving us this gift.”

During a long period of illness that Corinna later learned was caused by toxic mold in their home (they since have moved out, and she feels a lot better), she received another gift from God, she said. She woke in the early hours of the morning with a song in her head that was so compelling, she had to get out of bed to record it. “And almost all of the verses just came out, bypassing my conscious brain.”

That song is “The Mighty Name of Jesus.” It is a centerpiece of, and the only original on, their recording, Music In My Soul. Corinna said, “We wanted [the project] to feel like a quintessential High Fidelity record, very bluegrassy.”

She wanted to emulate another early hero, Carl Story. When listening to Story, she said, “It wouldn’t even register that I was listening to a gospel record. It was just such good bluegrass… I wanted Carl Story’s vibes.”

Their recording successfully and joyously channels the spirit and musicality of the earliest bluegrass stars. High Fidelity worked hard to find little-known gospel songs from a variety of sources, performing them with the same enthusiastic vigor that they bring to their secular music. Listeners will recognize classic banjo introductions and harmony variations that have been passed through generations since bluegrass hit the radio.

And just as Music in the Soul is undoubtedly High Fidelity, nobody but The SteelDrivers could have created Tougher Than Nails. It is gritty, bluesy and achingly human.

Rogers said that for years, The SteelDrivers’ most requested song has been “Where Rainbows Never Die,” from the 2010 recording Reckless.

“We’ve gotten so many emails, messages, people come up to us at shows, telling us how they’ve played the song at their dad’s funeral or for grandpa or whomever and how much it’s meant to them.

“It doesn’t say the word God. It doesn’t say the word Jesus. It doesn’t even use the term heaven. But it is a gospel song, a spiritual song. It’s about passing on to the next life. To me, it is such a powerful, beautiful way of sharing,” Rogers said.

In the same way, she said, a SteelDrivers’ gospel collection wouldn’t be “preaching at people or using even the language they’re familiar with. But if the message is the same, why not?”

On Tougher Than Nails, expect the same gutsy, no-holds-barred, gorgeous vocals that we love from The SteelDrivers. Their original gospel songs are as much about the dangers, choices, and blessings of humanity as their songs about liquor, guns, guitars, and heartache.

They ask us to think about Mary Magdalene, and how she balanced love for the man with love for the divine. They wonder if Judas’ heart broke as he fulfilled his destiny of betrayal. And they celebrate the victory of love over the cruelty of crucifixion.

Even “Amazing Grace” is uniquely SteelDrivers – starting with a primitive drone that weaves into the blues-driven rhythms we associate with Black Baptist church choirs.

Chris Jones is one of the most enduring and admired singers in modern bluegrass. He also is a SiriusXM radio host and writer, and a respected commentator on all things bluegrass.

Jones recently recorded “Step Out In the Sunshine.” Jones learned the song from listening to Ralph Stanley on Jones’ “all-time favorite gospel album.” It’s a song of hope and joy.

“I think the feeling and sincerity of gospel music touches all different kinds of people. It has a broad appeal, whether you’re a believer or not,” Jones said.

He noted that many bluegrass fans relate to melodies and arrangements and often overlook the lyrics. He referred to a listener who loved the song, “Julie Ann,” because it was so happy. (It’s up-tempo, but sung by a man begging his wife not to leave him.)
But lyrics do matter to the musicians who sing them.

Jones echoed a sentiment reflected in the gospel choices of High Fidelity and The SteelDrivers. A religious commitment “makes you a little more selective of what you’re willing to sing. Is this a message I really want to send to people?” Jones chooses gospel songs that are welcoming and inclusive.

High Fidelity’s Jeremy Stephens said they avoided lyrics that sounded like condemnation, the ones that say, “You’re bad because you do this and you’re bad because you do that.” He said Music In My Soul “is our hearts talking to your hearts… the Lord said, ‘Come to me as you are.’ There’s so much peace and love and acceptance in him.”

Award-winning singer and guitar player Greg Blake currently performs with his own band as well as with Special Consensus. Blake had a ministry for 30 years before becoming a full-time musician. He said he has learned a lot over the years about judgement, love, and being open-hearted. And his insights inform his choice of spiritually-oriented songs.

“When I was younger, and probably more zealous and less informed, I felt like I needed to be ‘right.’ But as I got older and looked at the teachings of Jesus, I saw that his message was more about right relationships,” rather than proper dogma or theology.

So today, Blake says, “I like to bring into gospel even songs that may not have a strong Christian element, but are just good, positive songs… that leave one with a sense of hope and love and care for one another. I think that’s the message that people of the world need to hear today.”

Photo Credit: Photo of the SteelDrivers courtesy of the artist; photo of High Fidelity by Amy Richmond.

LISTEN: Chris Jones & The Night Drivers, “Step Out in the Sunshine”

Posted on by Justin Hiltner

Artist: Chris Jones & The Night Drivers
Hometown: Nashville, Tennessee
Song: “Step Out in the Sunshine”
Album: Pages In Your Hand
Release Date: October 6, 2023
Label: Mountain Home Music Company

In Their Words: “Ralph Stanley’s early 1970s Clinch Mountain Boys lineup of Roy Lee Centers, Jack Cooke, Curly Ray Cline, Keith Whitley, and Ricky Skaggs was a golden era for his band, in my opinion, and in my mid-teens their music was a major influence on me as I was just getting serious about playing music. The gospel album they did, Cry From the Cross, was and remains my favorite bluegrass gospel album of all time. It inspired my lead singing and guitar playing, and without consciously trying to do it, I learned to sing the baritone harmony part from Jack Cooke.

“I still have and cherish the original LP that I bought when I was around 15, though the jacket is a little battered and my name is written in brown magic marker on the back — because, you know, other kids in high school were likely to try to steal my Ralph Stanley records. I wanted to record a song from the album that I hadn’t heard anyone else do and that hadn’t become a Ralph Stanley standard, and so I was drawn to ‘Step Out in the Sunshine.’ We rearranged it slightly to fit our sound but it remains a tribute to the Stanley original.” – Chris Jones

Track Credits:
Chris Jones – acoustic guitar, lead vocal
Marshall Wilborn – bass
Mark Stoffel – mandolin, harmony vocal
Grace van’t Hof – banjo, harmony vocal

Photo Credit: Sandlin Gaither

LISTEN: Chris Jones & The Night Drivers, “The Price of Falling”

Posted on by Editor

Artist: Chris Jones & The Night Drivers
Hometown: Nashville, Tennessee
Song: “The Price of Falling”
Release Date: January 20, 2023
Label: Mountain Home Music Company

In Their Words: “The addition of Grace van’t Hof and Marshall Wilborn to The Night Drivers started a new era of creativity for the band and for me personally, and our first album together showed the positive results of that. Still, most of it was recorded during the pandemic while we weren’t touring. This is our first single from our not-yet-released second album, which was our first opportunity to record as a band that has grown together, instrumentally and vocally. Everything felt more comfortable and intuitive. ‘The Price of Falling’ is an uptempo song I wrote about the up and down sides of falling in love. The arrangement is designed to highlight the instrumental give and take that feels very easy and natural to us now.” — Chris Jones

Crossroads Label Group · The Price Of Falling – Chris Jones & The Night Drivers

Photo Credit: Sandlin Gaither

WATCH: Chris Jones & The Night Drivers, “We Needed This Ride”

Posted on by Editor

Artist: Chris Jones & The Night Drivers
Hometown: Nashville, Tennessee
Song: “We Needed This Ride”
Label: Mountain Home Music Company

In Their Words: “The song is a very recent one of mine that tells the tale of a romantic reunion on a long-anticipated road trip. The journey is more important than the destination in this case. This is the first song we’ve recorded with new Night Drivers Grace van’t Hof and Marshall Wilborn. Grace plays banjo in the band but doubles on ukulele on some songs, which is a little unusual for a bluegrass band, but I’m loving the texture it brings to some of our material. I thought it would be cool to really announce her presence by starting the song with a baritone uke rhythm vamp, which really gives it a different sound right off the bat. Then she switches to banjo midway through the song.” — Chris Jones

Photo credit: Sandlin Gaither

WATCH: Chris Jones & The Night Drivers, “Looking for the Bridge”

Posted on by Editor

Artist: Chris Jones & The Night Drivers
Hometown: Nashville, Tennessee
Song: “Looking for the Bridge”
Album: The Choosing Road
Release Date: March 29, 2019
Label: Mountain Home Music Company

In Their Words: “This is one of five songs from our upcoming CD that Jon Weisberger and I have co-written. This one is all about trying to find a way back to how things were in a relationship that has turned cold, and feeling lost in the effort. The song contains one of the Night Drivers’ characteristic ‘signature licks’ which had just randomly come into my brain one day, and I recorded it on my phone. This was the most enjoyable video recording experience we’ve ever had. It had lots of the elements we love: railroad tracks, a beautiful North Carolina river, and a dog barking at a drone (the dog does not appear in the video because he refused to sign a release). There was also a bridge, which apparently we couldn’t see.” — Chris Jones

Photo credit: Sandlin Gaither

IBMA Reveals Festival Performers, Extended Stay in Raleigh

Posted on by Editor

Ricky Skaggs, Patty Loveless, and the Earls of Leicester are among the confirmed performers for Wide Open Bluegrass, the two-day music festival that follows the annual IBMA Awards in Raleigh, North Carolina. This year’s festival will be held Sept. 28-29 at the Red Hat Amphitheater as well as seven additional downtown stages.

The organization also announced that its annual World of Bluegrass gathering, which incorporates a trade show, awards show, and multiple showcases, will stay in Raleigh through 2021. The IBMA Awards will be held on Sept. 27 at the Duke Energy Center for the Performing Arts. The nominees, Hall of Fame inductees, and Distinguished Achievement recipients will be announced live on Sirius XM’s Bluegrass Junction on July 25. Hosting duties for the IBMA Awards have not yet been announced.

Ricky Skaggs & Kentucky Thunder’s performance at Wide Open Bluegrass will feature a special appearance from Loveless. The Earls of Leicester have received the IBMA’s top award, Entertainer of the Year, for the past three years. Additionally, the festival will present a special collaboration featuring Alison Brown, Becky Buller, Sierra Hull, Missy Raines, and Molly Tuttle, who are the first women to earn IBMA awards on their instruments. Brown became the first female instrumentalist to receive an IBMA Player of the Year Award, earning a 1991 win in the banjo category. Raines has taken home seven IBMA instrumentalist awards on bass, while Buller, Hull, and Tuttle all earned their honors on fiddle, mandolin, and guitar (respectively) in Raleigh in the last two years.

Wide Open Bluegrass is the principal fundraiser for the Bluegrass Trust Fund, which provides direct financial assistance to bluegrass artists and other industry professionals in times of emergency need. To date, the Trust Fund has given more than $800,000 in direct aid. To benefit this cause, the Main Stage lineup will also include “The TRUST set,” featuring Doyle Lawson & Quicksilver, Balsam Range, Lonesome River Band, Donna Ulisse, Chris Jones & The Night Drivers, Sideline, and Love Canon. These artists will highlight their benefit album, The TRUST, with proceeds benefiting the Trust Fund. Set for release on Mountain Home Music Company, The TRUST features all new, original music written by the bands involved in the project. The songs are about themes of hope, courage, and perseverance and reflect the artists’ commitment to the bluegrass community.