MIXTAPE: Staci Griesbach’s Great American Songbook of Country Music

The Great American Songbook of country music is a vast terrain to cherish and celebrate. So vast, in fact, that to narrow it down into one playlist of favorite “picks” is an incredible challenge! That said, I’m sharing here a selection of songs that are some of my all-time favorite lyrics and melodies. (The kind of songs you’d take with you to a desert island.) When you look through this list, it is no doubt that you’ll agree: each one of these songs rightly deserves its space in the pages of 20th century American music history for the mark the songwriters and the musical icons performing them have made. The generations these songs have touched (and hopefully will continue to touch)… the audiences moved by performances, in some cases to tears… all from the impact of a single song. Amazing!

As I hope to do with my Songbook series of recordings, my artistic path honors these songwriters and musical icons in reimagining these songs in a new way, offering an inspired interpretation of some of these classic songs (as you’ll see below). I hope you enjoy a slice of what I like to call “My American Songbook.” — Staci Griesbach

Dolly Parton – “Coat of Many Colors”

Dolly Parton’s “Coat of Many Colors” celebrates its 50th anniversary in 2021, and in my mind, there may be no more perfect storytelling song with a purpose in all of country music. Through the lyrics, Dolly approaches some important underlying themes in her message with this song. From humble beginnings to the love of a mother to encouraging self-talk and faith to the discussion of bullying, this song is so inspiring no matter where you live or what your upbringing was like. Coupled with her incredible human compassion and all she does with her celebrity to make the world a better place, Parton continues to be awesomely inspiring. For my interpretation, we played up the whimsical nature with the Joseph and the Amazing Technicolor Dreamcoat reference to also celebrate Dolly’s immense talent in the Broadway space. Fun fact: I was once “Narrator” in the musical production, so there’s a special sort of kismet connection!

Willie Nelson – “Blue Eyes Crying in the Rain”

When a song is recorded by Hank Williams, Roy Acuff, Willie Nelson, and probably hundreds of other artists, you may wish your name was songwriter and country music legend Fred Rose. Willie Nelson’s voice and this song pair so well for me. It’s his renditions — especially the live acoustic ones where he brings the tempo down — that are my favorite.

Patsy Cline – “Crazy”

If you’re going to do a playlist about country music standards, then this one has got to be on the list and perhaps top the list. As the most-played jukebox hit in history, the combination of Willie Nelson’s pen and Patsy Cline’s voice makes for a combination that never gets old.

Merle Haggard – “That’s the Way Love Goes”

Merle Haggard could sing the phone book to me, and I’d fall in love. This classic Haggard tune shows off some of his trademark moves, hitting the low notes with a sense of natural charm that could arguably make any gal swoon. His influence from Lefty Frizzell, who penned the song and had a strong arm in shaping many of country music’s early male voices in terms of style, is clear.

Anne Murray – “Could I Have This Dance”

I’m a sucker for a country waltz and the romantic in me gets caught up in this lyric every time I hear it. While the vocal is more modest in range and dynamic, it’s the sweetness of the tune that makes it feel like you’ve just put on your favorite winter sweater and nestled up to the fireplace.

George Jones – “He Stopped Loving Her Today”

Classified by many as the greatest country song of all time, it’s an exemplary tale of great songwriting paired with incredible talent. The song, the lyrics, and the vocal performance George Jones gives in this tear-stained ballad can’t possibly leave a dry eye in the room, no matter how many times you’ve heard the recording! This was the first song we tackled for my album celebrating Possum’s 90th birthday, and I was thrilled when songwriter Bobby Braddock shared his praise. In my cover version, arranger Jeremy Siskind arguably created a stage for this song to really sit in a spotlight it has never been in before.

Ernest Tubb – “Waltz Across Texas”

Listening to this song play as a young girl, I used to dream of being swept off my feet in love someday, filled with the imagery of waltzing across a big ballroom with someone serenading me. When Ernest Tubb calls out his band members, it feels like you’re right in the room listening as they’re playing. I’ve always enjoyed his iconic characteristics in his sense of showmanship.

Patsy Cline – “Walkin’ After Midnight”

Several songs in Patsy Cline’s catalog can be called standards in country music and this is one of them. A favorite for many girl singers who adore her, Patsy’s swagger comes through in her bluesy vocal performance adding just the right touch of cry to connect us with her desire for finding love. For my cover version, also from arranger and pianist Jeremy Siskind, the song offers more of a meditative groove creating a moodiness that implores a sense of searching matching the lyrics with a more internal reflection.

Ray Price -–”Make the World Go Away”

The great Hank Cochran had a way with songwriting and that’s no secret. One of my favorite songwriters in Nashville history. His songs create a lasting impression, especially this one recorded by Eddy Arnold, Elvis Presley, Martina McBride, and the late great Ray Price.

Tammy Wynette – “‘Til I Can Make it On My Own”

When you put Tammy Wynette, George Richie, and Billy Sherrill in a room, you know a hit song will find its way out of the door. Wynette’s performance is simply stunning here, and this song really showcases her dynamic range as a vocalist. I also really enjoy Martina McBride’s cover on her standards tribute album.

Merle Haggard – “Today I Started Loving You Again”

The poetic nature of Merle Haggard’s catalog cannot be questioned, and while he’s known as the poet of the common man, it’s his love songs that have me right in the palm of his hand. Penned along with Bonnie Owens, this song might top the Haggard catalog for me.

Dolly Parton – “Here You Come Again”

Only recently I became aware that this song was written by the great Cynthia Weil and Barry Mann. I’ve always associated the song with Dolly, and with her incredible songwriting prowess, it was a natural assumption. This is definitely one of my favorite songs in Dolly’s catalog. For my cover, which is the flip side of my Digital 45 with “Coat of Many Colors,” Jeremy Siskind and I explored a ballad context to really bring out the emotional quality of the lyrics and the feelings that bubble up when you’re so in love with someone and forget for a moment that they’re not good for you.

Hank Williams – “Cold, Cold Heart

There’s a lure around Hank Williams like no other in country music. And it’s no surprise when you listen to Williams’ catalog why George Jones and so many others looked up to and tried to emulate Williams at the beginning of their careers. A true country music standard for its number of covers (including Tony Bennett), I’m a huge fan of Norah Jones’ performance.

Patsy Cline – “Lonely Street”

From Kitty Wells, Melba Montgomery, and Emmylou Harris to Ray Price, George Jones, and Tammy Wynette, this song has been recorded many times over. While Andy Williams’ version might have hit the highest notes on Billboard’s charts, it’s Patsy Cline’s heartache-filled performance that is my favorite version. There were a few of her classic hits that didn’t make my tribute album and this one might top that list.

Kris Kristofferson – “Help Me Make it Through the Night”

The stories of Kris Kristofferson and Bill Withers have always touched me in the fact that both of them were working everyday jobs (sweeping floors and working at an airplane parts factory respectively) when their demos catapulted them into the spotlight. I’ve seen Mr. Kristofferson perform this live a few times and my heart melts every time.


Photo credit: Kim Thiel

LISTEN: Caleb Lee Hutchinson, “I Must Be Right”

Artist: Caleb Lee Hutchinson
Hometown: Dallas, Georgia
Song: “I Must Be Right”
Album: Slot Machine Syndrome
Release Date: September 17, 2021

In Their Words: “‘I Must Be Right’ is a song I wrote with the incredible Trey Hensley on Zoom during the middle of 2020. I have been a fan of Trey for quite some time and was very excited to write with one of my favorite guitar pickers of all time. I tried to bring some kind of guitar lick into the write, which ended up being what you hear in the first few seconds of the song. Trey had the idea for the lyric and it only took us maybe an hour to write it. Trey is such an amazing writer and player so it didn’t take much for us to write a song like ‘I Must Be Right.’ It’s one of my favorite songs I’ve ever written as a result.” — Caleb Lee Hutchinson


Photo credit: Don VanCleave

BGS 5+5: Jason Eady

Artist Name: Jason Eady
Hometown: Stephenville, Texas
Latest album: To the Passage of Time

Which artist has influenced you the most … and how?

Merle Haggard. No question about it. I have learned from him in every way. His effortless style of singing, the simplicity in his writing style, the way he covered different genres, the way he managed his career, all of it. Everything I do is in some way influenced by Merle Haggard, whether I’m aware of it or not. I think he was the best all-around country artist who has ever lived.

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

I’m very into photography lately. I got into it about four years ago as a way to have a hobby on the road and it really took. I didn’t realize when I started that it would affect my music the way it has. It has changed the way that I see the world, specifically in looking for more details. After a while with photography, like songwriting, you realize that you’ve exhausted everything that you can see on the surface and you have to start looking deeper for details. Seeing those details through photography has definitely expanded my imagery in my songwriting.

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

Quiet. That’s the most important pre-performing ritual. I need time to focus and center. If I go straight from noise and commotion to the stage, it can take a while for me to relax into what I’m doing. I always try to set aside the 30 minutes prior to performing to just be quiet and get centered and ready.

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

When I’m on the road I try to make an effort to stop every day and just walk, preferably in nature. This job can be very chaotic at times, and intentionally stopping to walk and look around is a great exercise. If I can walk somewhere quiet then that’s even better. I’m very aware when I come across places where there is no noise. It’s crazy that when you start looking for that you realize how hard it is to find. Just complete silence. But when I find it I try to stop and appreciate it, and what a rare moment it is.

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

Almost always. Every character I write has some version of me in them. It’s not always 100 percent true, and usually isn’t, but there’s always some truth about me in there somewhere. I honestly don’t know if I’d be able to write a character that is completely separate from me.


Photo credit: Brandon Aguilar

WATCH: TK & The Holy Know-Nothings, “Serenity Prayer”

Artist: TK & The Holy Know-Nothings
Hometown: Portland, Oregon
Song: “Serenity Prayer”
Album: The Incredible Heat Machine
Release Date: October 15, 2021
Label: Mama Bird Recording Co.

In Their Words: “It’s a woozy, merry-go-round day-in-the-life of a local musician making good for about two hours every evening. It’s also somewhat of an ode to the dubious magic of Northwestern Freak Country and the bars that shelter it. The suits requested we put the song to moving picture, so we drove out to a little bar at Our Lady Of Perpetual Heat Recording Studio & Spa to hole up for the night. Having no money, no planning, and one day, it seemed fitting. We would have been there anyway.” — Taylor Kingman


Photo credit: Matthew Kennelly

WATCH: Charley Crockett, “I Won’t Cry”

Artist: Charley Crockett
Hometown: San Benito, Texas
Single: “I Won’t Cry”
Album: Music City USA
Release Date: September 10, 2021
Label: Son of Davy/Thirty Tigers

In Their Words: “This is a soul ballad I wrote about five years ago and forgot about. I was writing for the new record at Mark Neill’s studio in South Georgia one night and I just decided to look way back in my voice memos. I don’t write anything down pretty much at all. I played a recording from 2016 and this was the song. It was just a rough three verses, but I liked it and finished it up right there in the back lounge that night. I’d say it’s the best number on the album. Maybe.” — Charley Crockett


Photo credit: Bobby Cochran

The BGS Radio Hour – Episode 216

Welcome to the BGS Radio Hour! Since 2017, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. This week, David Crosby and Sarah Jarosz join up for a Joni Mitchell number, husband-and-wife duo Darin and Brooke Aldridge bring us some beautiful bluegrass harmonies, LA’s own Los Lobos share their rendition of a favorite Jackson Browne tune, and much more.

APPLE PODCASTS, SPOTIFY

The Wallflowers – “Maybe Your Heart’s Not In It Anymore”

25 years after their breakout hit and almost a decade after their most recent release, The Wallflowers are back with a new album, Exit Wounds. In our interview with Jakob Dylan we talk about the project, singing with Shelby Lynne, the documentary Dylan executive produced, Echo in the Canyon, and more.

Ric Robertson – “Carolina Child”

We spoke with Ric Robertson about playing a popcorn kernel in a musical as a kid, his kite surfing aspirations, his new album Carolina Child, and more in a recent edition of 5+5.

Amy Ray Band – “Chuck Will’s Widow”

Amy Ray of The Indigo Girls finds herself often haunted by the song of the nocturnal songbird, the Chuck-will’s-widow: “I find that I witness the most profound moments in the midst of their songs, when everyone else is asleep. While I am often in need of rest, the respite I find in being awake under a miraculous and melodic night sky is too tempting for me to sleep. It’s a conundrum that inspires me, but also leaves me bleary-eyed.”

Darin and Brooke Aldridge – “Once In A While”

Bluegrass husband-and-wife duo Darin & Brooke Aldridge hope that every aspect of their music makes you smile — even more than “Once in a While!”

Matt the Electrician – “Home Again”

Folk singer-songwriter Matt The Electrician will return with a new album called We Imagined an Ending in November. A new track, “Home Again,” takes inspiration from the point of view of his teenage daughter. “The conundrum of parenthood, that as you finally start to figure some things out, and try to pass along some of that hard won wisdom, you’re greeted with your own teenage face staring balefully back at you.”

Tobacco City – “AA Blues”

Says Chris Coleslaw of Tobacco City’s latest single, “The character in the song is trapped between working in a brewery and staring at beers all day and trying to walk a sober line. I think regardless of your sobriety status we can all relate to those kind of blues.”

Jesse Daniel – “Clayton Was A Cowboy”

Jesse Daniel spoke with us about his new album, Beyond These Walls, about growing up catching crawdads and fishing, the chills-inducing feeling when a crowd sings along with his lyrics, and more in a recent 5+5.

Joy Oladokun – “Judas”

Joy Oladokun is able to do more with just an acoustic guitar and her voice than many artists can in an entire discography of work. And going from Arizona to L.A. then across country to Nashville with a new outlook and perspective, her music stands on a plane with a unique vantage point.

Luke LeBlanc – “Same Blues”

A new video for Luke LeBlanc’s co-written tune with Roy August, “Same Blues,” attempts to capture what the song is about: the tug of war between the status quo and what you’re currently doing versus that thing you really want to do.

Midnight North – “Silent Lonely Drifter”

“Silent Lonely Drifter” is an original folk melody reminiscent of timeless Appalachian string band music. Each verse references a different full moon, speaking to the natural balance that exists in the universe.

Los Lobos – “Jamaica Say You Will”

The Jackson Browne tune “Jamaica Say You Will” always resonated for the fellas of Los Lobos and the narrative and storytelling were attractive, too. So, they recorded their own rendition of the track on their latest project, Native Sons.

Aoife O’Donovan ft. Milk Carton Kids – “More Than We Know”

New music from Aoife O’Donovan is here and we’re loving it! Hear tracks created with Joe Henry and the Milk Carton Kids — one inspired by the modern classic re-telling of Peter Pan, the movie Hook.

John R. Miller – “Shenandoah Shakedown”

Depreciated, the new Rounder Records release from singer-songwriter John R. Miller, combines many of his string band and bluegrass influences with a satisfyingly melancholy and dark mood — plus plenty of fiddle.

David Crosby ft. Sarah Jarosz – “For Free”

Legendary singer, guitar picker, and songwriter David Crosby keeps his love for collaboration alive on his new album, For Free, which features guests and co-writers such as Sarah Jarosz, Michael McDonald, his son James Raymond, and more.


Photos: (L to R) Joy Oladokun by Nolan Knight; Aoife O’Donovan courtesy of Shorefire Media; David Crosby by Anna Webber

BGS 5+5: Mike and the Moonpies

Artist: Mike and the Moonpies
Hometown: Austin, Texas
Latest Album: One to Grow On
Personal nicknames: The Moonpies

All answers by Mike Harmeier

Which artist has influenced you the most … and how?

It would be impossible for me to narrow it down to just one artist. Early on, I was heavily influenced by George Strait and ’80s/’90s country artists, in general. I really thought that was the path I would take — a very commercial approach to country music. I would later gain a new perspective when I started listening to more songwriters like Guy Clark and John Prine. It was then that I wanted to add more depth and sincerity to my music. When I moved to Austin in 2002, I started to get more into the art of record making and that process was heavily influenced by bands like Wilco and Radiohead. Lately, I’ve kind of melded all that into an approach that’s more along the lines of Jerry Jeff Walker. Freewheeling records with thoughtful lyrics and just having fun playing music with my friends.

What’s your favorite memory from being on stage?

I’ve had countless moments that stick out in my memory from being on stage. Most of them include our artist friends joining us on stage. From the big jams we usually host at Mile 0 Fest in Key West, to our encores with the opening bands joining us for a cover song to end the night. Most recently, Jerry Jeff Walker’s son Django joined us on stage in Alpine, Texas, for our rendition of “London Homesick Blues.” It’s a song written and performed by Gary P. Nunn and made famous on Jerry Jeff’s Viva Terlingua record. We cut it in London at Abbey Road Studios for our Cheap Silver and Solid Country Gold record. That was a very special moment and felt like a culmination of a lot of things for us. You never know who will join you or when, and that excitement always makes for a memorable show.

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

I’ve always found a lot of inspiration in film. Especially when that film uses the right music for a particular scene. I can’t tell you how many times I’ve hit pause on a movie to write a song. Some songs can take on a whole new meaning when you put them behind the right scene or character and I will sometimes use those character’s emotions to inspire a new subject to write about. I’ve written quite a few songs just off one line I heard in a movie or TV show.

What’s the toughest time you ever had writing a song?

I actually had a lot of tough moments writing songs for this record. I had more time than normal to write and rewrite these songs. There were countless edits and rewrites and versions of the songs that we just scrapped and then started over. While I think these are some of the best songs I’ve written, it really took much longer to get to a place where I was happy with them. I think if you spend too much time on one thought it can be a dangerous game to play. I’m still learning when to put the pen down and be satisfied with what came naturally. It’s a fine line.

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

I think I have subconsciously done this a lot with many songs in our catalogue. Not until this record have I made the conscious decision to write from a character’s perspective. While I was experiencing or have experienced a lot of the feelings and virtues of the character on this album, I tried to take myself out of it as much as I could. I wanted to broaden the scope and viewpoint beyond my own personal experience so I strayed away from talking too much about road life or really much to do with my personal experience with my work as a musician. I wanted to project a world view from the perspective of an everyday nine-to-fiver and play with how that intersected in my own personal experience. While there is a lot of myself in these songs, I think it translates to the everyman in a very relatable and accessible way. At least to anyone that works hard to get where they want to be.


Photo credit: Lyza Renee Photography

BGS 5+5: Jesse Daniel

Artist: Jesse Daniel
Hometown: Ben Lomond, California
Latest Album: Beyond These Walls
Personal nicknames: Jessup

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

When I was really young, probably around 6 or 7, my mom took us down to see my dad’s band play at a place called the Fernwood Lodge. We were camping down the road from the music venue and because my brother and I were a few years shy of the legal drinking age, we had to stay back at the tent while the older folks went and played music, partied, etc. There was an older woman who was watching us, so I waited until she fell asleep and I followed the sound of the music up to the bar where my dad was playing. I remember walking onto the front porch and watching my dad on stage from the window outside. Somebody told my mother that I was there and she came outside to get me. I thought she’d make me go back, but she let me stay and I hung out with them. We danced and listened to my dad’s band play with the bikers, hippies and rednecks. I remember knowing that I would be on that stage when I was old enough. It made a huge impact on me.

What’s your favorite memory from being on stage?

I was doing a show with Colter Wall, opening up solo at a place called The Orpheum Theater in Flagstaff, Arizona. I was slightly unsure of how the crowd would take a solo opener, because there were thousands of people there — it was sold out on a Tuesday night! The crowd was extremely receptive and I’ll always remember their excitement. As I got to the end of the set, I played “Soft Spot (For the Hard Stuff)”, which is one of my more known songs. The crowd sang the words of the chorus back to me at the top of their lungs and it gave me chills. Still does. There’s no feeling like it.

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

As far as a mission statement goes, I’ve told people for a long time that my goal is to make good country music and live a good life. I want to lift others up with my music, help them through life’s hardships and make them happy. Country music is life music and I want to tell stories that are true. I’m in competition with no one and never will be. I’ll keep running my own race and doing what I love.

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

I love being outdoors. As a kid, I grew up next to a mountain creek and we’d spend whole days catching crawdads, swimming and playing in that creek. If I ever get stressed or overwhelmed by life, going swimming or fishing is a guaranteed way to clear my mind and get back in touch with the here and now. On my new record Beyond These Walls, I’ve got a song about fishing and another about the beauty and simplicity of nature. Nature is as much a part of me as the music is.

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

I do a mixture of both, partly truth and partly fiction. I love telling stories from others perspectives. A lot of my songs are about my own life experiences, but I’ll attribute them to the character of the song. Many are stories from real people I’ve met in rehabilitation facilities, jails, on the street or on the road. When you look for it, the inspiration is endless. Stories are everywhere and they are waiting to be told.


Photo credit: Kayla Lilli

LISTEN: Elijah Ocean, “Honky Tonk Hole”

Artist: Elijah Ocean
Hometown: Nashville, Tennessee
Song: “Honky Tonk Hole”
Album: Born Blue
Release Date: July 23, 2021

In Their Words: “‘Honky Tonk Hole’ is about a guy who has seen better days and whose big dreams have all gone up in smoke. Now he spends all his time drinking and playing country music in bars. Not entirely sure why he’s complaining about it, though. Seems kinda fun and not a bad life. It’s a high-energy shuffle about falling into a rut but also kind of loving it.” — Elijah Ocean


Photo credit: Wolfe & Von

In This Unearthed 1968 Live Recording, Johnny Cash Sings “I’m Going to Memphis”

New music from Johnny Cash is coming in September from a surprising source. Members of the Owsley Stanley Foundation have partnered with Renew Records and BMG to release a never-before-heard capture of a Johnny Cash concert in 1968. The upcoming release, titled Bear’s Sonic Journals: Johnny Cash At the Carousel Ballroom April 24 1968, was captured by in-house sound engineer Owsley “Bear” Stanley only days prior to the release of Cash’s legendary live record At Folsom Prison. That means the new album will provide another window through which we’ll be able to hear Johnny Cash, June Carter Cash, and the Tennessee Three (guitarist Luther Perkins, bassist Marshall Grant and drummer W.S. Holland) at their peak, performing songs that shaped an entire genre. John Carter Cash, the country stars’ son, describes it as “what I believe to be one of the most intimate and connected shows I have ever heard.”

Recorded in the heart of the counterculture movement of the ‘60s in San Francisco, the new collection is slated for a September 24 release on a CD/2 LP set. To promote the project (as if we needed anything more to be excited about), the Owsley Stanley Foundation and Renew/BMG have released “I’m Going to Memphis” from the concert, and it is absolutely brimming with Cash’s signature charisma and debonair delivery. So many of classic country’s textures line the recording: tick-tack electric guitar, train-beat shuffle, brash acoustic rhythm, and of course, rich, velvety vocals to round out the arrangement. It’s a snapshot of one of country music’s most fertile moments in history and we’ll be wearing this one out all summer in anticipation for the rest of the live album’s release.

Listen to the official audio and check out this feature from Rolling Stone about new music from Johnny Cash.