Artist: Lilly Hiatt
Hometown: Nashville, Tennessee
Song: “Simple”
Album: Lately
Release Date: October 15, 2021
Label: New West Records
In Their Words: “The love that exists in our universe is infinite. My family is a big part of that realization for me, and they all appear in this song. I wanted this to begin the album as if to say hello with a smile.” — Lilly Hiatt
Photo credit: Dylan Reyes
Ashley Monroe’s new project could put a smile on anyone’s face. Together with producer and collaborator Tyler Cain, she’s released The Covers, an EP of five reimagined classics including “Love Hurts,” “More Than Words,” and The Police song performed in this video, “Every Breath You Take.” It’s a celebration of songs that Monroe and Cain both love, with nothing to detract from excellent songwriting. With minimal arrangements and production frills, these two artists captured a pure and innocent expression of admiration in this record.
About the project’s origins, Cain says, “This project began out of a shared love for these songs. There’s just something magical about taking classic songs that we’ve listened to for most of our lives and stripping them down to just vocals and a guitar.” Monroe adds, “Tyler and I were just hanging at his studio and talking about our favorite songs and I said we should just film ourselves recording some of our favorite songs on Earth. The ones that make us feel better. Maybe it will help other people too.”
The EP not only features a five-pack of classic songs, but Cain and Monroe also pulled in friends and artists Ruston Kelly and Brittney Spencer on two of the tunes. Altogether, the EP is refreshing. Listening to working artists perform for no other reason than pure enjoyment is a breath of fresh air in an artistic environment where creativity is often sacrificed for correctness or commerciality. Watch Tyler Cain and Ashley Monroe perform “Every Breath You Take.”
Photo of Ashley Monroe: Alexa King. Photo of Tyler Cain: Jonathan Dale
Name: Taylor McCall
Hometown: Easley, South Carolina
Latest Album: Black Powder Soul
What’s the toughest time you ever had writing a song?
“Black Powder Soul.” It took me three days.
Which elements of nature do you spend the most time with and how do those impact your work?
It used to be standing in a river fly fishing. But now I don’t get to do as much fishing these days and slipping out into the country fuels my songwriting.
What rituals do you have, either in the studio or before a show?
Cold shower to start the morning. Breath work and meditation.
How often do you hide behind a character in a song or use “you” when it’s actually “me”?
To me there are deeper layers of hidden message and “hiding” in a song. A tasty sonic phrase can not only sound cool and intriguing but also mean a million different obscure things. To not only me but the listener.
Since food and music go so well together, what is your dream pairing of a meal and a musician?
Easy! Jimi Hendrix and jambalaya!
https://open.spotify.com/playlist/0rFdqyreyBtJhzIEjDQFlT?si=gdYxqJ2ZRgyNeUW29izWFw&dl_branch=1
Photo credit: Laura Partain
During COVID, I rediscovered my love for waking up, drinking coffee, and listening to the right music in the mornings. This is a playlist for some of my favorite songs to compliment the most sacred time of the day. — Thomas Csorba
JJ Cale – “Cherry”
This is one of my favorite vibes not just of JJ Cale, but of music in general. He finds his groove and stays put. Why fix it if it ain’t broke?
Michael Hurley – “Lush Green Trees”
I’ve been a big fan of this Michael Hurley record for a little while, and it seems that some of the deep cuts strike me differently on the 100th listen. This is one of those songs — a beautiful, simple song with an earnest spirit to it.
Elizabeth Cotten – “Goin’ Down The Road Feelin Bad”
Elizabeth Cotten is one of those artists who I fell in love with at a pretty young age (thanks to a well-informed older brother). Her voice may not be everyone’s taste, but her singing and playing seem to really shine as the sun is just starting to rise.
Yusuf / Cat Stevens – “Father and Son”
This song has a really special place in my heart because it reminds me of my grandfather and his story as a refugee from Hungary in the ‘50s. It’s a wild picture of a conversation between a father and a son in that situation. This song got me thinking about writing my new song “For You” and pairs really nicely with a front porch morning.
Jerry Garcia, David Grisman – “The Thrill is Gone”
Sometimes I’ll wake up in the morning and listen to this record all the way through. Hearing some of these old songs in a new light has really unlocked something for me. This song in particular has a great vibe to it that really draws you in.
Anaïs Mitchell – “Tailor”
I’m obsessed with Anaïs Mitchell. Plain and simple. Her vocal delivery of these lines, and the lyric congruency throughout the song is as good as it gets.
Willis Alan Ramsey – “Muskrat Love (Muskrat Candlelight)”
Name me a sexier song about rodents — I bet you can’t! This song has the perfect cocktail of interesting lyrics and sonic vibe. The vocals are killer and the chord change right after the chorus just make me so happy.
Gillian Welch – “Winter’s Come and Gone”
This is a deep cut from Gillian’s catalog, but I think it’s one of my favorites. There’s a great quick minor 6 chord change that echoes some old-time songs that I love. It’s my favorite Gillian song to drink coffee to.
Big Bill Broonzy – “Glory of Love”
There’s a soft spot in my heart for Big Bill Broonzy. This song has been cut by a bunch of folks, but Big Bill’s version is by far my favorite. Love that he doesn’t start singing until the minute-thirty mark in the song. Effortless vibe and energy here from Big Bill.
Tony Joe White – “Little Green Apples”
I first heard this version of this song from a buddy this past year and I think it’ll end up being one of my most-played songs of the year. Tony Joe’s delivery of these lyrics helps paint the best scene in these verses. I’ll be holding on to this recording for a very, very long time.
Roger Miller – “Where Have all the Average People Gone”
I love Roger Miller’s voice in the morning. There’s something nostalgic to me about it. There’s no song that speaks to me more in this political and social climate than this one. Perhaps, even though we look at things differently, we can be kind to each other.
https://open.spotify.com/playlist/74b3fjg7bYPtXRoNK762OY?si=6e3546a3381444dc
Photo credit: Austin Leih
Carly Pearce and Sonya Isaacs can both trace their musical roots back to bluegrass, even as their individual careers have introduced them to fans beyond that genre. A rising country star, Pearce is a native of Taylor Mill, Kentucky, who just released her third album, 29: Written in Stone. She cites Isaacs — a sterling vocalist and instrumentalist in the gospel group The Isaacs — as one of her biggest vocal influences. Meanwhile, the Isaacs salute some of their own favorite songs with The American Face, a new album blending new material and well-chosen covers. These artists’ professional paths converged this fall when Pearce and, later, The Isaacs, were welcomed into the cast of the Grand Ole Opry.
Calling in to BGS, Carly Pearce and Sonya Isaacs converse about their formative years as musicians, their education in bluegrass harmony, and their immediate response to “Easy Going,” a cool collaborative cut on 29: Written in Stone.
BGS: Let’s start by talking about “Easy Going.” Carly, what was it about the song that made you want to bring in Sonya and Ben Isaacs to sing with you?
Pearce: When I was writing this song, I could hear the harmony. I grew up loving music and harmony and all of those things. As soon as we finished writing it and knew that we wanted it to be on the project I just heard The Isaacs. I grew up loving them and loving their harmonies. Nobody sings harmony better than the Isaacs family, so I asked Sonya.
Sonya, what did you think when you first heard the song?
Isaacs: I love Carly’s voice, too, and I was like, “Well, I’m sure anything that she wants us to sing on will be amazing. And knowing how she loves harmony singing, I thought, “This is gonna be really fun.” Of course, she’s one of the most incredible female vocalists of all time, I think. So, when she played us the song, I flipped out over it. I absolutely loved the song, and I was like, “I can’t wait to get in the studio!” … It was a good a vocal exercise, a good stretch! [Laughs] And it was a challenge because she’s so good, but that’s my favorite kind of session. We had a blast and I love the song.
I like the arrangement because you’re giving the musicians a chance to step out and do what they do best. It feels like a band record in some ways.
Pearce: Yeah! They were all so inspired in the studio by the song and I remember telling Shane McAnally and Josh Osborne, my producers, “Hang on, hang on, and let them do their thing.” I love instrumental bluegrass music, so I wanted to have that element and that feel in the song.
I do want to explore the bluegrass background that you both have. Sonya, can you kind of tell me how bluegrass fits into your overall musical direction?
Isaacs: Yeah. Our dad has been playing bluegrass all of his life. He’s 74 now and he grew up loving bluegrass. The Stanley Brothers, Bill Monroe, all of the legends of bluegrass. Dad loved it first, and when Carter Stanley passed away, my dad actually filled in for him with Ralph for a while and sang Carter’s part. He really fit that style. Dad always instilled a love for bluegrass music, especially traditional bluegrass music, into us kids. He taught us how to play our instruments. He was very key in teaching us the first things we ever learned. Over the years, with our own writing and different influences and artists that we’ve discovered along the way that had a little more of a contemporary sound, our style morphed and changed a little bit away from the more traditional bluegrass sound, but it’s always been the root of everything that we’ve ever loved.
Let’s talk about your dad a bit because the Isaacs just won an IBMA Award for a recording of “Garden Tomb,” which he wrote. I’m curious how that song came back into the forefront.
Isaacs: Dad moved to Kentucky about 20 years ago after he and Mom divorced. He hasn’t really traveled with us or been in the recording part of what we do for all those years. But, of course, he made pop-up appearances when we were around. So, Joe Mullins reached out to us — we love Joe Mullins and the whole Mullins family — because he was doing this project called Industrial Strength Bluegrass and wanted the Isaacs to be a part of it. [The project was named IBMA Album of the Year in September.] Joe has always loved the song “Garden Tomb” that my dad wrote many, many years ago. It was one of our earlier hits that we had many years ago. So, we thought it would be a good idea to do that song.
Our dad is, to me, one of the most underrated legends of bluegrass music. Mainly I think because he chose to do gospel instead of mainstream bluegrass, he was overlooked a lot. So we said, “We’ve got to get Dad in here to sing on this.” And then we decided to add the Oak Ridge Boys, to give it even more of an inclusive feeling. They agreed to come in and they were so proud of it. And my dad felt so honored that it was his song that was on this project. We’re very proud of this whole album — and to be from Ohio. This whole album is artists that are from Ohio or lived in Southern Ohio. It was a full-circle thing for us.
Carly, I know you joined a bluegrass band around the age of 11, right?
Pearce: I did, yeah. I sang in a bluegrass gospel band. That’s how I got my start on stage, outside of the childhood talent shows and things like that. I fell in love with it and feel like I understood what it meant to really be able to sing. I learned a lot of things in those years I was in that band, traveling around and watching bands like the Isaacs. There is no faking that harmony in that music! I think it made me a better singer today because of it.
You’re both known now for singing with other people. Carly, you’ve had a couple of hit duets, and Sonya, you’ve been singing with your family for a long time. Did bluegrass help you build that foundation, in terms of being able to blend your voice with another voice?
Isaacs: Absolutely. Anybody that can sing the third part with the Louvin Brothers, or with Ralph and Carter Stanley, it really teaches you to sing harmony and to find the part. You can listen to a Ralph Stanley song and hear all his vocal licks, and you can compare it to a Mariah Carey vocal lick. Even though they’re completely different styles, they’re both working their vocal cords and it takes a great skill and talent to be able to do the runs and licks that they do. So, absolutely, growing up singing along with those old records and finding that third part was very instrumental in me learning to sing harmony.
Pearce: For sure. The joy, for me, of singing is sometimes getting to collaborate with other vocalists and people that I love and adore. I’m such a fan of their voices. Sonya knows this, but so much of what I feel like people know my voice could be — kind of the flip into my head voice — is because I was trying to emulate Sonya’s voice when I was growing up, going to watch her sing. That’s why singing with her is so special for me.
Isaacs: Aww. It’s crazy because… how old are you Carly?
Pearce: I’m 31.
Isaacs: So, I’m 16 years older than her. It’s so funny for me to hear her say that she grew up listening to the Isaacs, and emulating me, because I don’t feel like I’m that much older, but I am. I’m just in denial, I guess, but I am so honored that she would say that! [Laughs]
Speaking of influences, Carly, you have Patty Loveless on your record, singing with you on “Dear Miss Loretta.” What was going through your mind when you heard her voice come in on that song?
Pearce: Oh, I sat in my car and bawled my eyes out. Patty and Sonya are two of my biggest influences and to have them be so gracious to be a part of my album, it’s something you dream of.
And it’s a song about Loretta Lynn no less. You really went for it, making Kentucky proud. Growing up, were you pretty well aware of the bluegrass history in Kentucky?
Pearce: Oh, for sure. My grandpa played clawhammer banjo and I grew up listening to Flatt & Scruggs and Bill Monroe and Ralph Stanley. I definitely understood how many people come out of the state of Kentucky, like the Judds. I think that’s where I really started to fall in love with music — by listening to people who came from Kentucky.
Sonya, on The American Face record, you have six songs from the past and an equal number of new songs. Are there any of those that you’d want a bluegrass fan to check out?
Isaacs: The instrumentation on this record, and that we’ve always done, leans toward that contemporary acoustic sound with the addition of a few extra instruments like piano. But our roots are always going to be that acoustic sound, and that’s how we are live. But I think “We Can Work It Out” — the Beatles cover that we did — is very acoustic and fun. We have a song “More Than Words” that was originally recorded 30 years ago by a rock ‘n’ roll group called Extreme. We did that stripped down with just upright bass, some snaps and vocals. I guess it’s not really considered a bluegrass song but the vocals are definitely influenced by that. There are quite a few songs on here that the bluegrass fans would really, really like.
It feels like you’re both having this moment, where you received an invitation to join the Grand Ole Opry and you’re winning industry awards. People are really noticing both of you right now. What are you enjoying the most about this time in your career?
Pearce: I’m sure that Sonya would say the same thing, but moments like becoming a member of the Grand Ole Opry — that’s something that I wanted and dreamed of and hoped for my whole entire life. And now to say that I am a part of that family is so surreal for me. All of these things, the childhood dreams, are coming true. You hope that when you’re writing music and singing and doing all of these things that it’s impactful and that people are going to care. And the fact that I feel like people care is so special.
Isaacs: Ditto to that. That’s a great answer. Again, it goes back to growing up. Dad instilled a great love for bluegrass music but hand-in-hand with that is that old classic country sound. I think nowadays, the classic country would fall more into a bluegrass category than even current country, because it’s changed and evolved so much since those days. Dad always instilled in us in love for the Grand Ole Opry as well, so it was full-circle again to be inducted and to be an Opry sister with Carly. We’ve known her for years and we’ve written together and we go way back. It is a really neat time to get to share these moments.
Photo credit: Nicole Sherwood
Artist: Lyle Lovett
Hometown: Klein, Texas
Song: “Teach Me About Love”
Album: Mighty Fine: An Austin City Limits Tribute to Walter Hyatt
Release Date: October 1, 2021
Label: Omnivore Recordings
Editor’s Note: This Lyle Lovett performance of Walter Hyatt’s “Teach Me About Love” was filmed in 1997 for Austin City Limits as part of a tribute to Hyatt, who was killed in a 1996 plane crash. Cut from the episode due to time constraints, the performance has been unseen until now, coinciding with the release of the full concert on CD and digital, titled Mighty Fine: An Austin City Limits Tribute to Walter Hyatt. Four unheard Hyatt recordings also appear on the album.
In Their Words: “Walter Hyatt is one of the most creative souls to come out of the Austin music scene in the past two decades. Although raised in Spartanburg, S.C., and spent his last years in Nashville, he represented the spirit of Austin. An artist of personal vision, original style and artistic integrity. During the late ‘70s and ‘80s, Uncle Walt’s Band developed a strong loyal following in Austin thanks to their expressive blend of music styles, songs that were street smart, energetic, honest, and inspirational to a lot of younger singer-songwriters like me. Walter Hyatt explored many styles – New Orleans jazz, country honky-tonk, with a bit of Elvis and course Bob Wills. His dry sense of humor made him very special in the eyes of fans and critics. His death was a personal loss for those of us who knew him, and for anyone who ever heard his music. This program is a celebration of extraordinary music by an extraordinary man with a gift for reaching hearts and minds of so many people.” — Lyle Lovett
As the go-to producer for some of Nashville’s most enigmatic roots talents, David Ferguson is what you’d call a behind-the-board legend. The studio savant known simply as “Ferg” started out as a protégé of producer and eccentric tape-splicer Cowboy Jack Clement and went on to become Johnny Cash’s favored engineer during his late-career resurgence. More recently, Ferguson has been imparting his old-school wisdom on tastemakers like Sturgill Simpson and Margo Price, while on his own debut album Nashville No More, he puts decades of knowledge to work once more.
With 10 songs full of classic charm and creative whimsy, it’s a loose-feeling project of tunes Ferg’s been falling in love with (and recording for himself) for years, molded into an album during the pandemic doldrums. A rotating cast of Nashville A-listers like Kenny Vaughan, Sierra Hull, Justin Moses, Jerry Douglas, Stuart Duncan, Béla Fleck and Tim O’Brien helped him flesh it out, presenting gruff vocals with tender, honest reverence for the lost art of record-making. In the end, it sounds like a love letter to his life’s work – and maybe the last hurrah of a creative culture.
BGS: So we’ll start with obvious question: Why did you want to make your own record, after so many years of helping others make theirs?
David Ferguson: Well, I’ve really always been a musician at heart. But this one fell into my lap over the pandemic. I had to shut down my studio, the Butcher Shoppe, in Nashville because they sold the buildings. So I set up a control room and an overdub room at my house, then the pandemic came along and there wasn’t much work. I started digging around in my recordings from over the years, got ‘em out and started seeing what I could do. That’s kind of how it came together. I really was just putting it together for family. Like, I was just gonna give it to my mom.
That’s interesting, because I think some people might assume you’ve been wanting to do this your whole life, but it sounds more spur of the moment.
Yeah, it’s a little late in life for me to be launching a solo career. [Laughs] But it’s fun to have one coming out and I’ve got a lot of time on my hands.
It might be late to get started, but you’ve had good teachers. Working with people like Cowboy Jack and Johnny Cash, and more recently Sturgill and Margo, what have you learned about being an artist?
To try to be humble. Even doing interviews, it’s hard to talk about yourself. Somebody who enjoys sitting and talking about themselves, there’s something a little bit wrong with them. I think being humble is a great lesson. Johnny Cash was a very humble man, very humble. So I think that — and trying to be kind to people. And don’t take it for granted, because even if something does happen, it may never happen again. You gotta appreciate what you’ve got.
The people you’ve been known for working with, they’re all artists of very strong vision – ones who didn’t compromise their art. Why are you drawn to people like that?
That’s a good question. I don’t know that I am particularly drawn there, maybe it’s just kind of the way it happened. Stuff comes your way and you have to grab the opportunity if it comes. You’ve gotta be ready to make a fool of yourself if you have to, and learn to grow from mistakes. I made a whole lot of records on a whole lot of people that weren’t any good – tons of them! Not everything you’re gonna do is good. But you do your best for the amount of time or money you have.
I always tried to do my very best. I was a fast engineer and got it going quick, because I didn’t want to waste people’s money. It’s hard to come by, and to get to make a record in a studio is a special thing. It used to be a really special thing. Now anybody can make a record. You can make one in your own house. But back in the day when I started, being able to have the money and resources to go in and record an album was a big deal. I still look at it as a big deal.
I think that comes through on your record.
Thank you, man, I tried not to cut any corners. I could have, and used keyboard strings, things like that. But I had real ones. I tried to do it as real as I could do it.
Did you record this the way you would have back in the day?
Yeah. Everybody’s recording on the Pro Tools format, but I can still fire up a tape machine, I’m not afraid of it. It’s just not economically feasible anymore. And plus, people don’t realize, they always used to say, ‘Oh, tape machines sounded great.’ And it’s true. They did and they still do, but you still wind up with a 16-bit CD. Unless you’re listening to it off the tape machine or on a vinyl record, or some super high resolution format, it’s just not gonna make very much difference.
Tell me about the title you chose. You’re from Nashville and have seen how it’s changed. How did you end up with the title Nashville No More? The whole thing has a kind of weary feel to it.
[Laughs] You know it’s not really a bummer. A lot of them are actually love songs. Like “Chardonnay” is a love song to wine. And then “Looking for Rainbows,” it’s kind of a sad song about love. … Nashville No More means a lot to me, because the Nashville that I used to know is no more. I’m not saying that’s a bad thing, it’s just that things evolve, and Nashville has really evolved. The music has evolved into an unlistenable thing to me. Modern country music, to me, is really difficult to listen to. Top 10 radio, it’s not for me. And I know some of those people who are on those channels, those singers, and I really like ‘em. I’m not saying anything bad about their music or anything … I’m really happy for their success, but it’s not the kind of stuff I’m gonna listen to.
Margo Price is featured on “Chardonnay,” and that has such a lovely sway to it. Where did that track come from?
That was written by my friend Roger Cook, and some years ago I made a demo of him doing the song, and I found it like ‘Jeez, where has this song been? I love this!’ … I finished it up with some real players on it, re-sung a couple of lines here and there and then sent it to Margo, and she said, ‘God, I love that song so much.’ She graciously came over and hung out for the afternoon and sung on that and “Looking for Rainbows.” Margo’s a real sweetheart and she doesn’t live far from me. The other person on there is Harry Stinson. He sings harmony, too, and Harry is in the Fabulous Superlatives. Harry’s singing on “Four Strong Winds,” too. He can blend right in there.
I love that you start off with “Four Strong Winds,” which is such a tender song. The first thing you hear is this gentle piano and a loping drum beat. Why start with that sound?
The album was totally sequenced … and it started off just exactly the opposite of what it is now. It started off with number six being number one, and we swapped the A side and B side.
Really?
That’s an old record trick I learned from Jack Clement and Johnny Cash.
What’s the benefit there?
It just kind of takes the obvious away, and that’s good. I’ve done that on more than one record for the years, and I’ve seen Jack Clement do it a few times. It’s a strange thing, but I mentioned to the guys, “Jack used to sequence it out A and B, then a couple of days later he’d be like, ‘You know, B oughta be A, I think.'” And it works!
You end on “Hard Times Come Again No More.” What’s the message in that ending?
Like I said before, that would have been number five, and we swapped it around. But it just seemed like a natural song to go out with. Sierra and Justin were kind enough to show up on that, and I think she’s just a major talent. Probably one of the most talented people I’ve ever met. She’s got the touch, and she’s not one to nitpick stuff. If you say you’re happy, she says, “OK, let’s move on.” She won’t just wear you out with it.
What was it like trying to produce your own songs, though? Is it hard to be critical of yourself?
It’s nearly impossible. Anybody you talk to who sings or even talks for a living, there’s hardly anything more painful than listening to yourself back. It’s as painful to a singer and artist as it is to anybody — unless they have an ego the size of [spreads his arms wide]. But you get in a situation where you have to be critical, so I learned how to do it on this record. I figured it out.
Photo credit: Scott Simontacchi
Ah! There’s a chill in the air, color in the leaves, and a craving for the spookiest songs in bluegrass — it must be fall. Bluegrass, old-time, and country do unsettling music remarkably well, from ancient folk lyrics of love gone wrong to ghost stories to truly “WTF??” moments. If you’re a fan of pumpkins, hot cider, and murder ballads we’ve crafted this list of 13 spooky-season bluegrass songs just for you:
The Country Gentlemen – “Bringing Mary Home”
THE bluegrass ghost story song. THE archetypical example of “What’s that story, stranger? Well, wait ‘til you hear this wild twist…” in country songwriting. (Yes, that’s a country songwriting archetype.) The Country Gentlemen did quiet, ambling — and spooky — bangers better than anybody else in bluegrass.
Cherryholmes – “Red Satin Dress”
Fans of now-retired family band Cherryholmes will know how rare it was for father and bassist Jere to step up to the microphone to sing lead. His grumbling, coarse voice and deadpan delivery do this modern murder ballad justice and then some.
One has to wonder, though, with so many songs about murderous, deceitful women in bluegrass — the overwhelmingly male songwriters across the genre’s history couldn’t be bitter and misogynist, could they? Could they?
Zach & Maggie – “Double Grave”
A more recent example of unsettling songwriting in bluegrass and Americana, husband-and-wife duo Zach & Maggie White give a whimsical, joyful bent to their decidedly creepy song “Double Grave” in the 2019 music video for the track. Just enough of the story is left up to the imagination of the listener. Feel free to color inside — or outside — of the lines as you decide just how the song’s couple landed in their double grave.
Alison Krauss – “Ghost in This House”
Come for the iconic AKUS track, stay for the impeccable introduction by Alison. Equal parts cheesy and stunning, if you haven’t belted along to this song at hundreds of decibels while no one is watching, you’re lying. Not technically a ghost story, we’re sliding in this hit purely because a Nashville hook as good as this deserves mention in a spooky-themed playlist.
The Stanley Brothers – “Little Glass of Wine”
Ah, American folk music, a tradition that *checks notes* celebrates the infinity-spanning, universe-halting power of love by valorizing murdering objects of that love. Kinda makes you think, doesn’t it? Here’s a tried and true old lyric, offered by the Stanley Brothers in that brother-duet-story-song style that’s unique to bluegrass. What’s more scary than an accidental (on purpose) double poisoning? The Stanley Brothers might accomplish spooky ‘grass better than any other bluegrass act across the decades.
Missy Raines – “Blackest Crow”
A less traditional rendering of a folk canon lyric, Missy Raines’ “Blackest Crow” might not feel particularly terrifying in and of itself, but the dark imagery of crows, ravens, and their relatives will always be a spectre in folk music, if not especially in bluegrass.
Bill Monroe – “Body and Soul”
The lonesome longing dirge of a flat-seven chord might be the spookiest sound in bluegrass, from “Wheel Hoss” to “Old Joe Clark” to “Body and Soul.” A love song written through a morbid and mortal lens, you can almost feel the distance between the object’s body and soul widening as the singer — in the Big Mon’s unflappable tenor — objectifies his love, perhaps not realizing the cold, unfeeling quality of his actions. It’s a paradox distilled impossibly perfectly into song.
Rhiannon Giddens – “O Death”
Most fans of roots music know “O Death” from the O Brother, Where Art Thou? soundtrack and the version popularized by Ralph Stanley and the Stanley Brothers. On a recent album, Rhiannon Giddens and Francesco Turrisi reprise the popular song based on a different source — Bessie Jones of the Georgia Sea Island Singers.
The striking aural image of Stanley singing the song, a capella, in the film and on the Down from the Mountain tour will remain forever indelible, but Giddens’ version calls back to the lyrics’ timelessness outside of the Coen Brothers’ or bluegrass universes and reminds us of just how much of American music and culture are entirely thanks to the contributions of Black folks.
Johnson Mountain Boys – “Dream of a Miner’s Child”
Mining songs are some of the creepiest and most heartbreaking — and back-breaking — songs in bluegrass, but this classic performance from the Johnson Mountain Boys featuring soaring, heart-stopping vocals by Dudley Connell, casts the format in an even more blood-chilling light: Through the eyes of a prophetic, tragic dream of a miner’s child. The entire schoolhouse performance by the Johnson Mountain Boys won’t ever be forgotten, and rightly so, but this specific song might be the best of the long-acclaimed At the Old Schoolhouse album.
Oh daddy, don’t go to the mine today / for dreams have so often come true…
Emmylou Harris, Alison Krauss, Gillian Welch – “Didn’t Leave Nobody But the Baby”
A lullaby meets a field holler song on another oft-remembered track from O Brother, Where Art Thou? The disaffected tone of the speaker, in regards to the baby, the devil, all of the above, isn’t horrifying per se, but the sing-songy melody coupled with the dark-tinged lyric are just unsettling enough, with the rote-like repetition further impressing the slightly spooky tone. It’s objectively beautiful and aesthetic, but not… quite… right… Perhaps because any trio involving the devil would have to be not quite right?
AJ Lee & Blue Summit – “Monongah Mine”
Another mining tale, this one based on a true — and terrifying — story of the Monongah Mine disaster in 1907, which is often regarded as the most dangerous and devastating mine accident in this country’s history. AJ Lee & Blue Summit bring a conviction to the song that might bely their originating in California, because they make this West Virginia tale their own.
Jake Blount – “Where Did You Sleep Last Night”
“In the Pines” is one of the most haunting lyrics in the bluegrass lexicon, but ethnomusicologist, researcher, and musician Jake Blount didn’t source his version from bluegrass at all — but from Nirvana. That’s just one facet of Blount’s rendition, which effortlessly queers the original stanzas and adds a degree of disquieting patina that’s often absent from more tired or well-traveled covers of the song. A reworking of a traditional track that leans into the moroseness underpinning it.
The Stanley Brothers – “Rank Stranger”
To close, we’ll return to the Stanley Brothers for an often-covered, much-requested stalwart of the bluegrass canon that is deceptively terrifying on closer inspection. Just who are these rank strangers that the singer finds in their hometown? Where did they come from? Why do none of them know who this person or their people are? Why are none of these questions seemingly important to anyone? Even the singer himself seems less than surprised by finding an entire village of strangers where familiar faces used to be.
For a song so commonly sung, and typically in religious or gospel contexts or with overarchingly positive connotations, it’s a literal nightmare scenario. Like a bluegrass Black Mirror episode without any sort of satisfying conclusion. What did they find? “I found they were all rank strangers to me.” Great, so we’re right back where we started. Spooky.
Artist: Brooke Law
Hometown: London, England
Song: “Millionaires” (featuring Andy Jordan)
Release Date: September 24, 2021
Label: Archetypes Music
In Their Words: “‘Millionaires’ is really special to me. It’s also my dad’s favourite song of mine. I wrote it with the first person I ever fell in love with and we were best friends. We always wished we’d be playing the song to millions of people. 🤣 ‘Millionaires’ is about a couple who are struggling to make things work without having a lot of security, but as long as they have each other and have love they can still dream.” — Brooke Law
Photo credit: Lou Morris Photography
Artist name: The Royal Hounds
Hometown: Nashville, Tennessee
Song: “Pickin’ in the Graveyard”
Album: Whole Lot of Nothin’
Release Date: October 15, 2021
In Their Words: “When I was learning to play bass, I used to go to a bluegrass festival called Old Timer’s Day. It was next to a graveyard. There were so many pickers that many groups would spill over into the graveyard and have pickin’ circles out there. I always loved the idea for a song called ‘Pickin’ in the Graveyard.’ Up the street from where I live is Spring Hill Cemetery. Lots of notables are buried there: Roy Acuff, Earl Scruggs, Jimmy Martin, Floyd Cramer, Kitty Wells, Hank Snow, and my favorite, John Hartford. I just love the notion that the ghosts of the musicians in this graveyard come out at night and have a grand pickin’ party. The final verse is kind of an homage to John Hartford. In the song, I say, ‘Lower me down in a Batman cloak/ we’ll all ride to heaven in a river boat.’ This is a reference to the fact that Hartford was accidentally buried in a Batman cloak and he had a lifelong fascination with river boats. He even had a license to sail them.” — Scott Hinds, The Royal Hounds
Photo credit: Bill Foster
