Tag: dolly parton

12 Essential Songs by Tom T. & Miss Dixie Hall

Posted on by Justin Hiltner

She was a trick-riding horsewoman born and raised in England; he, an Army veteran born in the foothills of Appalachia. Together, they were one of the most important songwriting duos of bluegrass, country, and American roots music as a whole. This year, they were inducted into the Bluegrass Music Hall of Fame together, following his induction into the Country Music Hall of Fame in 2008. If y’all don’t know the music — and impact — of Tom T. & Miss Dixie Hall, it’s time you do. Here’s a 12-song primer that attempts to scratch the surface of their far-reaching influence.

“Truck Drivin’ Son Of A Gun” — Dave Dudley, co-written by Miss Dixie

Co-written by Miss Dixie Deen (before she became a Hall), this single, released by Dave Dudley in 1965, reached #3 on the US country charts. It earned a BMI award; Dixie and Tom T. met at that awards banquet. The rest is history.

“Fox On The Run” — Tom T. Hall

An absolute classic. Tom T. brought bluegrass to country radio in 1976, when this track reached #9 on the Billboard charts. Just one stellar track on an entire album of top-shelf bluegrass that included appearances by J.D. Crowe, Donna Stoneman, Bill Monroe, Bobby Thompson, and so many more.

“Washed My Face In The Morning Dew” — Porter Wagoner and Dolly Parton, written by Tom T. Hall

Recorded the year before “Harper Valley P.T.A.,” Tom T.’s first top 40 hit is still going strong, relevant as ever 51 years later. “The rich got richer and the poor got poor, and to me it just didn’t seem right.”

Here’s a version by one of country’s favorite duos of all time, Porter and Dolly.

“Old Dogs, Children, and Watermelon Wine” — Tom T. Hall

“Old Dogs” was Tom T.’s third #1 hit as an artist. Charlie Sizemore, who followed Keith Whitley as Ralph Stanley’s lead singer, led an all-star cast on an entire album of Tom T.’s songs, including this one, in 2002.


“I Flew Over Our House Last Night” — Tom T. Hall

“So close, yet so far away,” Tom T. laments, whimsically, being 30,000 feet above the one he loves as he flies over home. This one has been covered by everyone from Balsam Range to Joe Henry.

“Leaving Baker County” — Junior Sisk & Rambler’s Choice, written by Tom T. & Miss Dixie

There’s a sardonic glee in the chorus, leaving Baker County and the woes described herein. “I never did think much of Baker County, and every mile I’m thinking of it less.”

“A Hero In Harlan” — Chris Jones & the Night Drivers, written by Tom T. & Miss Dixie

A somber story of a little brother coming home to Harlan the one way all military families fear — in a flag-draped casket. But Tom T. and Dixie don’t glamorize or sensationalize the story, as songs on this subject matter often do. They (and Chris Jones & the Night Drivers, who first recorded the song) tell it real, raw, and relevantly.

“Lessons In Stone” — Longview, written by Tom T. & Miss Dixie

A 1990s bluegrass supergroup, Longview’s original members included Dudley Connell, Glen Duncan, James King, Joe Mullins, Don Rigsby, and Marshall Wilborn. Woof. Dudley, Don, and Glen give the buttery three-part on the chorus.

“Our Little World” — Darin and Brooke Aldridge, written by Tom T. & Miss Dixie

The way Tom T. & Miss Dixie tell it (via Darin and Brooke), you really can have it all, without needing much.

“Pretty Green Hills” — Tom T. Hall, written by Tom T. & Miss Dixie

These two could write a story song like almost no one else can. The level of detail might seem mundane, but with such deft pens, these two make the little things seem integral — important, minute colors and shades that make the whole picture shine.

“Someone Made the Sandals Jesus Wore” — Paul Williams and the Victory Trio, written by Tom T. & Miss Dixie

Paul Williams, a fellow Bluegrass Hall of Famer inducted with Tom T. & Dixie this year, sings this gospel tune with the Victory Trio. It’s a simple, but incredibly poignant message: there really is no contribution, talent, or skill that’s too small or insignificant to positively impact the lives of others.

“Somewhere In Kentucky Tonight” — Tom T. Hall, written by Tom T. & Miss Dixie

When Tom T. recorded this song on Tom T. Hall Sings Miss Dixie & Tom T., that project was a Christmas gift to his wife. His Christmas card to Dixie promised:

“We’ll record in our studio; you choose the songs and the pickers. You produce and I’ll do songs we have written together. Local and Pal will handle (canine) security. We will call the project TOM T. HALL SINGS MISS DIXIE & TOM T. Merry Christmas! Love, T.”

And if that beautiful sentiment doesn’t capture their love perfectly, the song itself truly does. What a pair. Hall of Famers, indeed.

Photo courtesy of IBMA 
Jon Weisberger and Justin Hiltner contributed to this piece. 

Taking the Wheel: A Visit With Rhonda Vincent

Posted on by Editor

In no small part because of her bubbly personality, Rhonda Vincent has befriended some of the biggest names in bluegrass and country music. Dolly Parton asked her to sing harmony for an upcoming film soundtrack. Bernie Taupin gave her free reign to reimagine “Please” on an Elton John tribute album. Bluegrass heroes Bobby and Sonny Osborne set aside a 10-year break of performing together to appear on her newest album and DVD, Live at the Ryman. And she’s a frequent guest on the cable series Larry’s Country Diner, where she displays her talent for singing classic country among a roster of stars from the golden era.

Yet, beyond her upbeat demeanor, the real reason these legendary artists are reaching out is simple: Vincent is in top form with her musicianship and singing ability. In concert she glides to the high notes without straining, occasionally boosted by a little jump. She easily trades off between mandolin and fiddle, although she’s just as likely to let a band member from The Rage take the spotlight.

Off stage, Vincent maintains the tireless work ethic that’s carried her from being a child prodigy in Missouri to a Grammy-winning artist. (She picked up the 2017 Grammy for Best Bluegrass Album for a live album, All the Rage: Volume 1.) She leads her business with longtime husband, Herb Sandker, and keeps her hands on all facets of the industry – and now that means the steering wheel of the bus, too.

A few days after performing at her family’s Sally Mountain Bluegrass Festival in Queen City, Missouri, Vincent invited the Bluegrass Situation into her home studio in Nashville.

On stage, you appear to be so comfortable when you talk to the crowd. Why is that important for you to do?

I love that first of all. It’s something fun for me. It’s not something fun for everyone, I realize. But that is such a part of what we do. I love meeting the people. I think my first trip to Europe was to Finland in ’92-’94 or something like that with my family. And I’m thinking, That’s going to be such a different experience. I’m thinking I’m going to Mars or something. The terrain’s going to be different and the people are going to look a different way or something, I don’t know. I got there and it’s like “This looks like Missouri.”

But I found out the people were so special. The places may look the same, but the people are what can really make it special. And I like making it an experience. People are shocked because we meet and greet after every show, and they’re like “Oh my gosh, I actually get to talk to you?” Or they come and they can’t believe it and then they don’t say anything.

And then beyond that it’s not just a show, it’s not just a meet and greet, but now with Facebook and social media I get to stay in touch with them. Not that I can answer everyone, but I have set aside a little bit of time. Usually right before I go to sleep I have about 30 minutes and I try to answer messages or respond to people.

There’s a blind girl that lives in Portland, Oregon, and she sent me a message asking how to tune her mandolin. So I took my phone and made a YouTube video and [mock playing] ding, ding, ding, ding. I said “Cody, here’s E…” And I went through that and posted that and sent that to her. And from that, she flew all the way from Oregon to my family’s festival and she performed on stage with us at Sally Mountain last week. So it’s about relationships and loving these people because they love you so much and they love the music.


What is the audition process like to be in your band? How do you pick your musicians?

Mostly I guess I would see them. Like Hunter Berry, I saw him with Melvin Goins. What struck me about him, once again, he made himself accessible. He was backstage at the festival in Eminence, Missouri, and I would see him there every year, jamming for hours before they ever went on stage. Then he was with Doyle Lawson, the same thing. Then when I had an opening on fiddle, I called him up.

First of all their style has to fit the music and Hunter has that Benny Martin feel. He has that grit, and I loved that about his fiddle style. Mike Cleveland was in the band before Hunter, very similar styles, so the style had to fit. But just always being aware. I love to get out at SPBGMA or IBMA, wherever we are at festivals, and hear young talent because you just never know. …

It’s nice that you can be the one to make those decisions. You don’t have to say, “All right let me get back to my lawyer and my label.” This is kind of a family business for you.

It is, yeah. It’s what you see is what you get. The Live at the Ryman CDs came in recently. I went by myself and loaded up 6,000 CDs and loaded them in my car to bring them to the warehouse. The guy’s like, “Don’t you have somebody to do that?” And it’s like, “Yeah I do, but this is a good workout program.” And there’s a satisfaction going, “Wow! Look how nice I stacked those, and look how nice this is.” And you know what, I’m in charge of inventory.

Back to your question about musicians… it wasn’t always so easy to find musicians. When you’re starting out and you don’t have a lot of dates, I couldn’t seem to keep the band members. And it used to be where the agency would call and they’d go “Band of the week, band of the week.” So I heard this over and over. And also there’s being a female. I had a guy that I called to audition once. We set up an audition; he called back an hour later and he goes, “My wife’s not going to let me travel with you.” I mean, I’ve been married it’ll be 35 years on Christmas Eve, so I know where I stand. You know, we have fun, but there’s a line, and we’re not going to cross that line, no one is. If you do, you wouldn’t be here.

Early on, I’d be like, “Oh my goodness, I want to keep these musicians.” Or if there was an issue, I was really learning how to deal with that. Now as I have gotten more experience, I’ve been in the business longer and my tolerance level is gone. If you’re drinking now before the show, you’re fired. But you don’t have that at first. There’s a timeline for that. It’s like trying to get musicians, then trying to keep musicians, and I’ve been through all of that.

Another thing, I had done two mainstream country albums [in the ‘90s] and for the longest time, it’s like, “Are you country or are you bluegrass?” I was clearly playing bluegrass, but I was coming from that, and so I took a mentality of always proving yourself. I felt like I had to prove that yes I am bluegrass. Or [hearing] “Well you’re not going to stick with this.” One time my whole band quit, and people were like “Oh I guess you’ll give up.” It’s like “No, that’s when I call better musicians.” Thanks to my father always saying, “Don’t let anyone say you can’t do something. You just figure out how to do it.”

Did all the band quit within a week’s time?

On the same night.

Wow.

It was right after we won [IBMA] Entertainer of the Year. I think that was 2001, maybe, yeah. Then there’s the rumors: “Oh she’s hard to deal with, she’s impossible, she did this” So this is the best one I heard and I heard it a lot: That I threw an ashtray at Mike Cleveland, who is blind. That doesn’t even make any sense. Number one, there’s no smoking on the bus so we don’t have an ashtray – or if it was a beer or whatever, I don’t know. I’ve heard that a lot. I mean, it was sort of ridiculous, it’s like “OK, it’s untrue, but whatever you think.”

I’ve worked with so many different things, and different attitudes. It was like, “Oh my gosh, what is the problem this week?” When that changed, I regrouped and for the longest time I would sit there and go, “There’s no issues, there’s no problems. What’s going to happen?” It took a long time to finally relax and go “Great people, great musicians, and how awesome not to have some sort of a meltdown every week about something.” So yeah I am not immune to that and I have been around that, but the more that you progress – now don’t try that with me. Because I’m not going to forget it. There’s not going to be a tolerance for it.

I think leadership comes from the top down, and if you’re out there working really hard and meeting those expectations too, other people will rise to the occasion.

That’s true. And that comes with the fact that I don’t ask anyone to do something that I’m not willing to do myself. In fact I’m even working on getting my CDL’s for the bus.

Is that the driving license?

Yep. Yeah, I never in my life thought I would do that, but we have the electronic logs now, and we have a driver first of all, and then Mickey [Harris, the bass player] is the second driver. But when we went to Connecticut, and they have the timelines of how long they can drive, we nearly ran out of hours. I asked the rest of the guys and nobody was interested. And then I thought, “If I’m willing to ask them, I need to be able to do that myself.” I’ve been in driver training.

Really!

I have my permit and everything. I’m excited, I am so excited! It’s so empowering, it’s like, “If I want to go somewhere on my own bus, I’m going to be able to do that!”

Photo courtesy of Rhonda Vincent

That Ain’t Bluegrass: Love Canon

Posted on by Justin Hiltner

Artist: Love Canon
Song: “Islands In The Stream” (Originally recorded by Kenny Rogers and Dolly Parton)
Album: Cover Story

My first question is normally, “Where did you first hear the song?” But with a song as ubiquitous as this, how could anyone actually recall when they first heard it? So, maybe a better question is: How did you all decide that this was a song you wanted to record?

Jesse Harper: I’ve always loved the song, for as long as I can remember, but at a truck stop somewhere we got a Bee Gees greatest hits record and there was a live version of “Islands In The Stream” on it. I was like, “This is ridiculous! Why would the Bee Gees cover a Dolly Parton/Kenny Rogers number?” When we looked it up, it was Barry Gibb and his brothers who wrote the tune and he produced Kenny Rogers’ record, brought Dolly in on it, and pitched the tune to Kenny. It was the Bee Gees that brought the song back to my memory.

I worked it up when I was teaching at a fiddle camp in the summer, on an island, and it just happened that my friend Lauren Balthrop, who sings it with me [on the record], was on this island. I wanted to sing the song as a camp sing-along, because I was teaching a vocals/choir class and she was helping me out. I brought it back to the [band], like, “Man, this is an ‘80s hit, let’s do it.” That’s how it all came about.

What makes this song a good bluegrass song — or a good fit for bluegrass instrumentation?

There’s not much of a departure, music-wise, from what they had. The things that usually work about a song are whether or not we can transcribe the parts and work them out on our instruments. When we get into a song, we put it under the microscope and find every little detail. We try it on every instrument to see which should play which part. This one, in particular, there weren’t that many parts to it; the vocal part is what stands out. It’s more of a bluegrass jam than a lot of things that we do, towards the end of the song and it was more about the chords and the melody than the parts. In certain songs where there’s an instrumental hook, or a synth part — or think about “Africa” [by Toto] and how many parts are immediately recognizable. This tune, the recognizable part is the chorus and its melody.

One of the differences to our approach is that bluegrass music is typically a [2/4 time] feel or a waltz feel, and there’s a scripted role for every instrument, but we approach it with the instruments we already have and the music that already exists and the roles just need someone to fill them. Rather than just taking the chord structure and make it bluegrass, we take all the music that’s there and figure out how to deal with it. It always feels cheesy to me to take a song and just turn it into a bluegrass feel. “Boom-chick” works for disco, maybe, but it wouldn’t work for any of the other feels that we do.

There’s been this tradition since the early days of bluegrass of taking songs that were pop hits or radio hits and bringing them to bluegrass audiences–

Like Bill Monroe covering a Jimmie Rodgers tune.

Exactly. So I wonder how what Love Canon does follows that tradition — and why do you think this tradition still exists today?

I think that it goes beyond bluegrass. I would say that all musicians who are involved or dedicated to the craft of learning their instrument will almost always have to learn a piece, like in classical music — classical music is almost exclusively covers. The London Philharmonic, for example, is really a cover band, if you think about it in those terms. Jazz groups that are playing standards, well, standards are just covers. They’re tunes that become vehicles for improvisation. Bluegrass music and acoustic music that uses bluegrass instrumentation deserve to be elevated to the place where jazz and classical are, because of the technical aspect that’s required.

If you watch Bryan Sutton or David Grier play the guitar it’s every bit as impressive as seeing Eliot Fisk, or some amazing classical guitar player. It takes a lifetime of dedication to the craft. Or you see Béla Fleck play the banjo, or Jim Mills, and you realize, “Man that takes a lifetime of learning that craft.” I feel that ‘80s music is worthy of being played on these instruments. The melodies are great, the compositions are great. When we dig into the actual tune, as students of music, there’s so much amazing information, harmonically, in the chords and the melodies, that are sort of lacking in radio music right now. The popular music of today is not what it was in the ‘80s. What I wanted to uncover through what Love Canon — canon of course, being a body of work —  is, “We are studying the canon of this particular era.” There were just some great songs!

Similarly, “Islands In The Stream” is a great piece of music with great lyrics and a great chorus. That’s worthy of being studied by any serious musician, including bluegrass musicians.

What’s your favorite thing about performing it live?

Watching people unable to sing the verses, but as soon as the choruses come around, everybody knows it. It’s like, everyone remembers it, but they don’t know why they remember it. It happens with a lot of the songs we play. “Break My Stride” by Matthew Wilder is a perfect example. Nobody knows what the hell is going on. They’re like, “Why do I know this?” And if you look at their faces, they’re like, “Aaaah, I know what this is? I know what this is?” Then as soon as the chorus comes, they throw their hands in the air and they know all the words.

Now, you know that ain’t bluegrass, right?

I mean, I know that it’s not. Absolutely it’s not bluegrass. One response I have is that I love the old bluegrass. I love J.D. Crowe, I love Ricky Skaggs. I listen to that music incessantly, but I’m not Ricky Skaggs and I’m not J.D. Crowe. And I’m never going to be them. It’s never going to happen, no matter how much I want it to. The best I could do would be equivalent to me putting on a fake British accent right now. So the best thing for me to do is to use the voice that I have and play the music that I’m… you know, decently prepared to play.

I remember sitting at a festival not far from where I grew up — I could ride my bike there from my house as a kid. This festival is more traditional and I remember seeing Nickel Creek there years and years ago and there was a woman seated in front of me who turned to the person seated next to her and said, “They’re good, but I hate it.” [Laughs] I dunno if you’re going to win that conversation. Maybe the problem extends wider, into our entire culture, but it doesn’t do me any good to have that argument. I usually just say, “Yeah, it’s definitely not bluegrass.”

The Golden Age of Bluegrass… The ’90s?!

Posted on by Justin Hiltner

With the following eleven songs, we will convince you, the bluegrass jury, that neither the ‘40s, the ‘50s, the ‘60s, nor the ‘70s were the golden age of ‘grass. Before the bluegrass gods and all these gathered here today we unabashedly assert: the ‘90s were the absolute best years for bluegrass!! Consider the following evidence:

Lonesome River Band – “Long Gone”

Remember the days when LRB was a quartet and there was a critical mass of mullets among their members? Such a small lineup and still somehow a supergroup: Dan Tyminski and Ronnie Bowman dueting the life out of it, Sammy Shelor pulling for his life, and Tim Austin demolishing the flat-top. Woof.

J.D. Crowe – “Blackjack”

The ‘90s were the golden age of bluegrass and the bluegrass supergroup. The TV show American Music Shop, which ran for three years starting in 1990, often amassed the best star-studded lineups of the time period – like this one: J.D. Crowe, Mark O’Connor, David Grisman, Tony Rice, Jerry Douglas, and Glen Worf.

Laurie Lewis & Friends – “Texas Bluebonnets”

Laurie Lewis won Female Vocalist of the Year from the International Bluegrass Music Association only twice — once in 1992 and again in 1994. We could rest our ‘90s-bluegrass-is-best case on that fact alone, but we’ll let Laurie (and Tom Rozum, Sally Van Meter, Peter Rowan, Alan Munde, et. al.) convince you with this Texas swing-flavored masterpiece.

Alison Krauss & Union Station – “Two Highways”

I mean… do we even need to contextualize this one with a blurb? Alison Krauss — before she became the winningest woman in GRAMMY history — with Adam Steffey, Barry Bales, Tim Stafford, and Alison Brown (no, they aren’t sisters, even if they do have the same name) is exactly why ‘90s bluegrass never fails us. If you happened to forget that AK is a ruthless fiddler, too, just listen to any of her stuff from this decade for a reminder.

Strength in Numbers – “Slopes”

We continue with supergroups, for a moment, this time regaling in the new acoustic, esoteric instrumental, 1990s beauty of “Slopes” played by a group of folks you may know: Béla Fleck, Mark O’Connor, Sam Bush, Jerry Douglas, and Edgar Meyer. Makes you wanna time travel, doesn’t it?

Dolly Parton – “Train Train”

Everyone’s favorite songwriter, actor, country star, business mogul, theme park owner, and literacy advocate made one of the best bluegrass records in the history of the genre in 1999 — and of course the world went crazy for it. She took bluegrass places it too-rarely appears with a band that could’ve sold out a nationwide tour themselves. Iconic.

Ricky Skaggs & Kentucky Thunder with the Del McCoury Band – “Rawhide”

Del and the boys cleaned up on the IBMA Entertainer of the Year awards between 1990 and 2000, winning the organization’s top honor a total of five times during that span. Ricky never truly left, but he visibly returned to dominating bluegrass in the 1990s, touring with Kentucky Thunder. Talk about a golden age!

Emmylou Harris, Ralph Stanley, Dwight Yoakam – “The Darkest Hour”

Once again, we thank American Music Shop for bringing together a seemingly disparate yet totally seamless power collab. One of the best things about bluegrass is the shared vocabulary, the commonality of the songs. Just throw a bunch of folks up on stage and have ‘em sing one together!

Nashville Bluegrass Band – “On Again Off Again”

Best decade for bluegrass = best decade for bluegrass music videos, too. (Sure, all music videos, but especially bluegrass ones!) This one is just deliciously retro and it doesn’t hurt that the Nashville Bluegrass Band is not only freakin’ stacked with talent, but they knock out these mid-tempo, sultry, vocal-centered songs better than anybody else.

Lynn Morris Band – “Love Grown Cold”

Lynn Morris has been unconscionably underrated for her entire career. Just listen to this. She had her heyday as an artist and band leader in the ‘90s, winning multiple Female Vocalist of the Year awards and even a Song of the Year, too. That banjo pickin’ definitely deserved better recognition, though. Hell, the whole kit-and-caboodle deserved more recognition. If you take away anything from our journey back through this bygone era of great hair choices and clothes that go zip-zop it should be a never ending love and appreciation for Lynn Morris.

Vince Gill, Alison Krauss – “High Lonesome Sound”

Two roots music icons of the decade, collaborating on a song that tributes the father of bluegrass himself, it’s just too perfect. We rest our case. May 1990s bluegrass live on forever in our hearts, our ears, and our mullets.

MIXTAPE: Ashley Campbell’s Banjo Basics

Posted on by Editor

What’s the best way to get a playlist of great banjo songs? Ask a great banjo player to make it for you … duh. We wanted. We asked. We got. Here, Ashley Campbell culls a dozen of her favorite banjo-based jams for us. Pick on!

Dolly Parton — “Travelin’ Prayer”

When I’m in the mood for bluegrass, I almost always turn on this song first. The playing is so unbelievably tight, and it has that classic bluegrass drive that gets my heart pumping faster. My favorite part is when the guitar solo comes in after the dobro break. The feel is so spot on right there!

Chris Thile — “Watch ‘at Breakdown”

This is my “Get Pumped about Banjo” song. I love the driving energy and dynamics of this song. I actually play the intro of this tune, sometimes, as a banjo warm up for my right hand.

Glen Campbell — “Gentle on My Mind”

Need I say more? So good!

John Hartford — “Gum Tree Canoe”

I can’t listen to this song without smiling. I love the YouTube video of John tap dancing and playing this song on the Opry. It’s just so simple and happy!

The Chicks — “Long Time Gone”

This CD lived in my car’s CD player for a good long year, and it was around the time I was first starting to take guitar lessons — when I was 15. “Long Time Gone” was one of the first songs I learned to play and sing along to.

Ashley Campbell — “Carl and Ashley’s Breakdown”

Shameless plug, I know.

J. D. Crowe and the New South — “Old Home Place”

This was one of the first songs I learned to play in a jam setting, when I was just starting out on banjo. I love old standards like this because of the way they can allow total strangers to play together in perfect harmony.

Punch Brothers — “Moonshiner”

One of the last concerts I took my dad to was Punch Brothers in Santa Barbara. He absolutely loved the show and pretty much gave them a standing ovation after every song. At the end of the show, they came in front of the mics and played “Moonshiner.” It was beautiful. The way they use their instruments to slowly build this song is mesmerizing.

Dolly Parton — “Banks of the Ohio”

This is one of my favorite songs of all time, and Dolly’s version is just perfect. I actually had the opportunity to hear it before it was released because my godfather, Carl Jackson, sang background vocals on it. I remember him playing it for me in my car, and I was just floored by that powerful vocal soaring above the simple instrumentation.

Sarah Jarosz — “Annabelle Lee”

Edgar Allan Poe is my favorite poet, so I love the idea of putting his poems to music. Clawhammer banjo is such a great instrument for storytelling and can also sound quite dark, which is perfect for Poe’s lyrics.

Carl Jackson — “Orange Blossom Special”

This song is insane! Carl plays his banjo so dang fast! I have the album Banjo Player on vinyl and, as fast as the song is, it’s fun sometimes to speed it up on the turntable for a good laugh!

The Deadly Gentlemen – “Moonshiner”

This is my favorite of the Deadly Gentlemen’s tunes. I love how they take a traditional bluegrass style for this song, but they make it their own with the way they talk-sing some of the lyrics. And I love the percussive picking style on the banjo in the verses. This is definitely on my “Get Pumped Bluegrass Playlist” and yes, I have a “Get Pumped Bluegrass Playlist.” Who doesn’t?

Photo credit: Sean Flynn

BGS 5+5: Violetta Zironi

Posted on by Editor

Artist: Violetta Zironi
Hometown: Reggio Emilia, Italy
Latest Album: Half Moon Lane
Personal Nicknames: Vio

If you could spend 10 minutes with John Lennon, Dolly Parton, Hank Williams, Joni Mitchell, Sister Rosetta, or Merle Haggard how would it go?

I think it would be Dolly Parton. I would love her to give me advice on how to keep up with this tough career — as a woman, as a storyteller — and especially, I would like to have her reassurance that being genuine and easy-going like her wins in the end.

Since food and music go so well together, what would be your dream pairing of a meal and a musician?

Well … my early teenage idol was Billie Joe Armstrong from Green Day, so I would love to share my favorite food with him — a pizza.

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

Not very often. I tend to write about myself and my personal experiences, and the only way I can be genuine and sincere about them is by speaking in first person. Sometimes though, I like to tell stories about friends or people i know, and I would pretend I am that person.

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

It was when I was 7 or 8 years old and I watched “Back to the Future” with my family. I remember watching the scene where Marty McFly picks up the guitar and plays Johnny B Good pretending to be Chuck Barry. I was absolutely blown away by the energy of that performance and it looked so much fun, and remember the people in the audience looking weirded by him but then completely changing their face and start dancing. I just wanted to be like that.

As you travel around the world, what is the overriding sense you get of the people?

Traveling the world is the best way of getting to know people. I’ve travelled a fair bit so far and I have to say people surprise me all the time. And it’s amazing, because they can be so different from each other but in the end one starts learning so much about life from them, and so much about oneself. I see myself in people, in places, and I also see the differences about people and me. This is incredibly inspiring and it make me happy.

BGS 5+5: Pauline Andrès

Posted on by Editor

Artist: Pauline Andrès
Hometown: Nashville by way of France
Latest Album: Fearless Heart
Personal Nicknames: Musicians call me P.A, Spanish friends Paulinilla, Southern friends Mama.

If you could spend 10 minutes with John Lennon, Dolly Parton, Hank Williams, Joni Mitchell, Sister Rosetta, or Merle Haggard how would it go?

Tough choice between Merle and Dolly. I guess I’d go for Dolly because such a moment would surely get me high on a crazy good mood for about a month. I would humbly ask for two pieces of advice: one from Dolly, the songwriter, and one from Dolly, the businesswoman. I’d also thank her for both her badass career and the incredible fun I had at Dollywood last Christmas.

Since food and music go so well together, what would be your dream pairing of a meal and a musician?

My life would be complete if I could ever have a big slice of pizza with Springsteen. Wouldn’t even need to talk. But if I could hear an anecdote or two, then my life would be extra complete.

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

Work in the best interest of the songs and nothing else. If it does not serve the songs, it ain’t worth doing.

How do other art forms — literature, film, dance, painting, etc — inform your music?

Literature plays a big part. When I write a song, I always start with an idea, concept, or actual plot. Rarely with a melody or rhythm. Storytelling in the form of books, tales, or poetry is the brainier sister of songwriting. A couple of songs I’ve released are entirely based on literary influences and many are just sprinkled with more subtle references. “On the Doorstep” is feeding off Lovecraft’s writing in every single line and was inspired by at least 10 of his short novels. “She” was born from my obsession with fairy tales — the original, darker, and often Eastern versions of the stories we (think we) know so well.

As you travel around the world, what is the overriding sense you get of the people?

It’s fair to say I’ve traveled a lot and for longer periods of time. At the end of the day, whether in Nashville, Hanoi, or Berlin, you just see the same people with similar-ish struggles. The scenery changes — that’s all. The scale of the problems, too. But not their essence.

It’s probably this universality, this pain that we share, that allows music and arts to create such amazing connections that cross languages and borders. When you travel intensively, you also realize that idiots come in all sizes and languages; therefore, any generalization about a nationality or culture is not only morally wrong, it’s literally not true. People are people. Fact. And the touching part, for me, is to see that most just do the best they can. Even when that ain’t much.

Hangin’ & Sangin’: Larkin Poe

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From the Bluegrass Situation and WMOT Roots Radio, it’s Hangin’ & Sangin’ with your host, BGS editor Kelly McCartney. Every week Hangin’ & Sangin’ offers up casual conversation and acoustic performances by some of your favorite roots artists. From bluegrass to folk, country, blues, and Americana, we stand at the intersection of modern roots music and old time traditions bringing you roots culture — redefined.

With me today at Hillbilly Central … Larkin Poe! Welcome!

Rebecca Lovell: Thank you!

I think it’s actually Hangin’ & Bangin’ today with all these amps. Because we’ve not really turned it up so much as we’re going to today. I’m a little bit excited!

RL: Yes! Great!

So we’ll see how the crowd handles it! Such a random sampling of my friends have come forward this week going, “Oh my God, I love Larkin Poe!” What’s that about? Explain yourselves! Random people. Like I have one friend who listens to Cat Stevens and Joni Mitchell pretty much exclusively, and she’s like, “Oh I just found them. I love them!”

RL: Well, we love Cat Stevens and Joni Mitchell, and we like Black Sabbath. I mean there’s a very limited number of bands that we don’t like. I mean we grew up in Atlanta so we love hip-hop and urban music, but we grew up playing classical violin and piano as kids. Our folks put us into lessons, I guess, when I was three and you [Megan] were four? And we started violin. So we were classical kids until I guess our early teens.

Then you were grassers.

RL: Total grassers! I was a banjo, bluegrass fanatic for many years and swore I would never play the mandolin, swore I would never do a bunch of stuff that we ended up melding our way through.

And now look at you! Strat …

RL: I know. Now we’re playing electric guitars. It’s crazy! [Laughs]

…

The most recent release, Peach, last September it came out. You guys self-produced it, played everything, but that wasn’t the plan going in, right? Necessarily?

RL: It wasn’t the plan. You know, it’s interesting, so much of the way in Larkin Poe, it’s always sort of organically shown itself to us, as we’re on the way, you know what I mean? So we were in the studio writing and rehearsing, just trying to get together some ideas to record, and it felt like we were shoving a square peg in a round hole with all the different production situations that we were finding ourselves in. And I have very strong musical opinions and, together, we’re just like loggerhead, you know, bowling anybody else’s opinion down the rabbit hole.

Huh, I wouldn’t have necessarily guessed that. [Laughs]

RL: So we decided, and it was really at Megan’s behest, she was just like “You know what? We [always] get in a room with a producer and you’re just like a bull in a china shop. Let’s just do it ourselves! Why are we fighting this? Let’s just hang together.” And it was so freeing! It was just so fun! And I think that you can hear that on our record.

So while you were doing the writing and pre-production, was the sonic vision sort of coming into focus for you? So you knew you could pull off what you wanted to do?

RL: Yes.

Megan Lovell: Because, at the time, Rebecca was sort of playing around with GarageBand and making our own beats and stuff like that.

RL: To demo the songs.

ML: And we ended up getting demo-itis and really liking the demos. So we were like “Okay, well we can just try this,” and actually keep the vocals that were recorded through the computer microphone into GarageBand!

RL: Crazy. But you know, I think it is a big concern as an artist because you do take the songs that you write and the way that you produce them so personally. For us, I think that we were fighting with not wanting to indulge ourselves too much, and then we started playing the demos for friends and family and different people in the industry that we trust, and they were like, “This is really unique. You guys should just do this!”

And simultaneously, while we were rehearsing, we started making cover videos that we were releasing on Instagram and Facebook, and we had an overwhelming response on social media from the videos, which were literally just Megan and I sitting in a room playing guitars. And people were saying, “Ah, finally it’s just you guys. Make a record like this! We’ve been waiting for this! Your records are always too overproduced. You guys need to just make a record like this!” So, that kind of feedback with the feedback of people saying “Hey, your demos are cool,” we decided, let’s have a little courage.

And that’s what was in your gut anyway.

RL: Yeah! Move with it, you know? Follow the spirit!

…

When I was researching, I read an old interview with you guys that was talking about how The Observer had, this was a few years ago I think, put you guys between Jack White and Dolly Parton, in some article or something. That is the perfect [combination] …

RL: Absolutely! Oh my God, yeah. I think every artist, whether or not they realize it, you always sort of have your boundaries. Like genre speaking, who are your touchstones? And absolutely Jack White and Dolly are two huge ones. Because Dolly Parton, I mean, our mother’s from East Tennessee and so Dolly’s always been a big hero, just from her growing up close to Pigeon Forge and the whole myth and legend and fantasy that is Dolly. And, musically, she’s been such a big influence. And then Jack White, on the opposite extreme, you know? To be playful and poke fun at yourself, but then also be able to do sort of that Jack White-y alter ego and crank it up.

ML: But they both stay true to their roots which I love.

RL: Same!

And Dolly playing so many different instruments, that’s in there, too. When I read that, I was like, “Oh, that’s probably one of the most perfect, like you said, touchstones” for a fairly undefinable band, which I think you guys are.

RL: Well, thank you!

If asked “Well, how would you describe [Larkin Poe],” I’d say, “I don’t know, who cares!”

RL: Yeah! You know, we spent many years trying to figure out what to call ourselves. And I think, especially when you get in an office with the industry, then it’s very tempting to try and put labels on what it is that you’re doing musically, in order to let them know how to sell it, you know, and you can’t fault anybody for any of that.

Sure.

RL: But, we had a really moving conversation, we were out on the road, we were in Austin, Texas, with Elvis Costello — we toured with him for many years as his backing band. We had been sending him demos of our songs, and so he sort of had an insider view on our current creative forecast or whatever. And he said, “You know what? Be undefinable. Don’t let them put a label on you. You guys do exactly what you do. Don’t worry about that. If you’re worrying about that, you’re wasting your time, and your fans’ time. Just go for it.” And we’re like, “Yes, sir.” [Laughs]

Watch all the episodes on YouTube, or download and subscribe to the Hangin’ & Sangin’ podcast and other BGS programs every week via iTunes, Podbean, or your favorite podcast platform.

BGS 5+5: Sarah Morris

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Artist: Sarah Morris
Hometown: Minneapolis, MN
Latest Album: Hearts in Need of Repair
Personal Nicknames: Hmm. I’m called “mama” most of the time. But over the years, I’ve also been called Mo, Sarita, Little Sarah, and She’s-so-small. The last three are from when I waited tables back in the day and they were all to highlight the fact that I was the shortest of the servers named Sarah/Sara.

What’s your favorite memory from being on stage?

Recently, I had my album release show, and five of my favorite Minneapolis-area singer/songwriters got up on stage with me and formed a mini-choir for my song “On a Stone.” The audience was all-in, the band was all-in, and these beautiful voices were singing with me — it happened to be my birthday that night, and it felt like the perfect gift.

If you could spend 10 minutes with John Lennon, Dolly Parton, Hank Williams, Joni Mitchell, Sister Rosetta, or Merle Haggard how would it go?

Well, I’d pick Dolly, and I’m sure the first five minutes would be me smiling, stammering out “I love you,” if I could even get that far. I’d be so nervous, but then she would say something disarming that would make me laugh, and I would hopefully make sure to say “Thank you for writing such beautiful songs and sharing your voice with the world.”

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

I always paint my nails the same color — Essie’s Smokin’ Hot — and I (almost) always have Maker’s Mark. Sometimes I play shows that aren’t bourbon-appropriate, and I’m mindful of that.

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

Ooh — I do a LOT of my songwriting on walks/runs through my neighborhood and a few surrounding parks. I spend a lot of time looking at that space where the trees meet the sky, especially in the winter. I’m a real sucker for bare trees against an open blue sky. I sing about the sky maybe too much. Also, on my new album, trees, stones, waves, water all come up a few times.

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

That’s a real thing. I write a lot of “I” songs where I just tell my story — or at least my story in that moment — but there are bits of me stuffed into every song. Also, I’ve written songs that are messages to myself — like my song “Confetti,” which is essentially my personal reminder to be kind, then be kinder still (to yourself and others). And also stop burying your head in your phone. I have a problem with checking my phone wayyyyyy too much. So, when I wrote the line, “There’s a chill from the people rushing by, every set of eyes glued to some phone,” I was really saying, “SARAH! Your kids see the top of your head too often! Show them your face and your eyes!”

3×3: The Sweetback Sisters on Pickles, Planes, and Priscilla

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Artist: The Sweetback Sisters
Hometown: Brooklyn, NY
Latest Album: King of Killing Time
Personal Nicknames: Emily and Zara

Who would be your dream co-writer?

Zara: Roger Miller or Molly Drake. Two writers from very different worlds, but both had a real grip on how to convey the human condition.

Emily: Hazel Dickens wrote really hard-hitting songs that didn’t soft-pedal the social issues she cared about. I would selfishly want to co-write with her, both because that would mean she had magically come back to life, which would be incredible for the world, but also so I could see HOW she managed to create such perfect, on-target songs.

If a song started playing every time you entered the room, what would you want it to be?

E: “Shake Your Groove Thing”

Z: “I Will Survive” — Can you tell we both have a deep mutual love for the Priscilla Queen of the Desert soundtrack?

What was your favorite grade in school?

E: Senior in high school. The world was my oyster!

Z: Yeah high school was the best. I basically went to the New England version of the movie Fame.

What are you most afraid of?

Z: Aliens. Definitely aliens.

E: The dark of night, after watching an episode of The Walking Dead. So, maybe it’s zombies I’m afraid of?

Who is your celebrity crush?

E: Dolly Parton

Z: Tie between Zach Galfinakas and JD McPherson

Pickles or olives?

E: Pickles

Z: Hot pickled okra!

@bds125 leads the fiddle section in our country band class. #ashokan

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Plane, train, or automobile?

E: Plane

Z: No where else I’d rather be than on the open road. Automobile.

Which is worse — rainy days or Mondays?

E: Mondays, by a longshot.

Z: Aren’t Mondays a musician’s version of Friday?

If you could go back (or forward) to live in any decade, when would you choose?

E: I love music from the 1950s and ’60s, but I can’t say I want to turn the clock back any further on human/civil rights in this country, so I’m gonna look forward to the shiny 2030s. I think maybe we’ll get our heads screwed on by then. And, heck, maybe honky tonk will have a huge, rhinestoned resurgence!

Z: What she said. Here’s to the future!

Photo credit: Anja Schutz