Celebrating Women’s History Month: Crystal Gayle, Rose Maddox, and More

Our partnership with our friends at Real Roots Radio in Southwestern Ohio continues as we move from Black History Month to Women’s History Month! This time, we’ll bring you weekly collections of a variety of powerful women in bluegrass, country, Americana, folk, and elsewhere who have been featured on Real Roots Radio’s airwaves each weekday in March, highlighting the outsized impact women have on American roots music. You can listen to Real Roots Radio online 24/7 or via their FREE app for smartphones or tablets. If you’re based in Ohio, tune in via 100.3 (Xenia, Dayton, Springfield), 106.7 (Wilmington), or 105.5 (Eaton).

American roots music, historically and currently, has often been regarded as a male-dominated space. It’s certainly true of the music industry in general and these more down-home musics are no exception. Thankfully, American roots music and its many offshoots, branches, and associated folkways include hundreds and thousands of women who have greatly impacted these art forms, altering the courses of roots music history. Some are relatively unknown – or under-appreciated or undersung – and others are global phenomena or household names.

Over the next couple weeks, we and RRR will do our best to bring you more examples of women in roots music from all levels of notoriety and stature. Radio host Daniel Mullins, who together with BGS and Good Country staff has curated the series, kicked us off last week with Dottie West, Gail Davies, and more. This week, we’re shining a spotlight on Kristin Scott Benson, Crystal Gayle, Big Mama Thornton, Reba McEntire, and Rose Maddox. We’ll return next week and each Friday through the end of the month with even more examples of women who blazed a trail in roots music.

Plus, you can find two playlists below – one centered on bluegrass, the other on country – with dozens of songs from countless women artists, performers, songwriters, and instrumentalists who effortlessly demonstrate how none of these roots genres would exist without women.

Crystal Gayle (b. 1951)

She’s a country music icon with signature floor-length hair and a voice as smooth as silk – Crystal Gayle!

Born Brenda Gail Webb in Paintsville, Kentucky, Crystal Gayle stepped out of the shadow of her legendary sister, Loretta Lynn, to carve her own path in country and pop music. She scored her first Top Ten hit in 1975 with “Wrong Road Again.” However, her major breakthrough came in 1977 with the GRAMMY Award-winning “Don’t It Make My Brown Eyes Blue,” a crossover hit that topped the country charts and even made waves on the pop scene. It peaked at Number Two on the overall Hot 100, setting Gayle up to be one of the premiere crossover artists of the era.

With 18 Number One hits, Crystal Gayle has the fourth most chart-topping songs for a female in country music history, even more than her older sister. She became a defining voice of the late ’70s and ’80s, blending country with soft pop for her signature sound. Who could forget those long, flowing locks – almost as famous as her music! A member of the Grand Ole Opry and the Kentucky Music Hall of Fame, she even has a star on the Hollywood Walk of Fame in addition to scores of other awards, honors, and accolades. Crystal Gayle is still shining today, proving that true talent – and great hair – never go out of style!

Suggested Listening:
Wrong Road Again
The Sound of Goodbye

Big Mama Thornton (1926 – 1984)

Before Elvis shook his hips and Janis wailed the blues, there was Big Mama Thornton. Born Willie Mae Thornton in 1926, this powerhouse of a woman changed music forever.

Thornton’s deep, growling voice and raw emotion made her a legend in blues and rock and roll. She recorded “Hound Dog,” which was written specifically for her, in 1952 – years before Elvis made it even more famous. It sold over half a million copies and reached the Top Ten on the Billboard R&B charts. Her recording of “Hound Dog” is regarded as a pivotal recording in the birth of rock and roll, and truthfully, her female perspective makes the song make a lot more sense.

Like many Black artists of her time, she never saw the wealth or credit she deserved. Big Mama wasn’t just a singer – she played drums, harmonica, and wrote music, influencing generations of artists. Janis Joplin’s hit “Ball and Chain” was written by Big Mama.

As a blues icon, she toured the United States and Europe, worked at many prestigious folk, blues, and jazz festivals, and even recorded an album with Muddy Waters. Sadly, her life was cut short after years of alcohol abuse, passing away at the age of 57 in an LA boarding house; Big Mama was buried in a potter’s field.

Big Mama Thornton paved the way for rock and roll, blues, and soul, and was posthumously inducted into the Rock & Roll Hall of Fame in 2024.

Suggested Listening:
Ball and Chain
Wade in the Water

Kristin Scott Benson (b. 1976)

A South Carolina native, Kristin Scott Benson is a six-time IBMA Banjo Player of the Year and an absolute force on the five-string. She was a mandolin player as a youngster, but caught the banjo bug at nine years old when she saw Doyle Lawson & Quicksilver in the 1980s with their exciting brand of bluegrass – and a young Scott Vestal on banjo. She joined the all-female bluegrass band Petticoat Junction when she was just a senior in high school, moving to Nashville in 1994 to attend Belmont University.

Unknowingly, she made history during her sophomore year in college when she was hired by The Larry Stephenson Band. She is viewed by many as having “broke the glass ceiling” in bluegrass, by playing in a male-dominated professional bluegrass band, without being married to, dating, or being related to any of the other members – she was simply a powerful picker. Kristin worked two different stints with The Larry Stephenson Band, in addition to working with Larry Cordle & Lonesome Standard Time. She joined The Grascals in 2008, where she has remained for over fifteen years.

Pointing to Sonny Osborne as her banjo mentor, she has fit The Grascals’ sound like a glove with their heavy Osborne Brothers influence. (It was actually Sonny who recommended her to The Grascals for their banjo job.) In addition to kicking tail on stage and in the studio with The Grascals, in recent years Kristin has formed a recording duo with her husband, mandolin master Wayne Benson of Russell Moore & IIIrd Tyme Out. Together they are simply known as Benson.

Kristin Scott Benson received the Steve Martin Prize for Excellence in Banjo & Bluegrass in 2018, and was inducted into the American Banjo Hall of Fame in 2024.

Suggested Listening:
Up This Hill and Down” – The Grascals
Conway” – Benson

Rose Maddox (1925 – 1998)

She was bold, she was brash, and she helped shape country as we know it! Rose Maddox wasn’t just another singer, she was a trailblazer.

Born in Alabama and raised in Modesto, California, Rose and her brothers – The Maddox Brothers and Rose – became pioneers of the “hillbilly boogie” sound. Performing on radio as teenagers, their career really took off when Rose’s brothers returned from World War II, anchored by her powerhouse vocals. One of the first hillbilly bands to come from California, The Maddox Brothers & Rose cut a wide swathe, touring across the country, performing on the Louisiana Hayride, and making smash records.

With wild outfits, high energy, and Rose’s infectious laugh, they were country music’s first real rock stars, known as America’s most colorful hillbilly band. In the 1950s, The Maddox Brothers & Rose parted ways and Rose pursued a solo career. She broke barriers as a female country star, scoring over a dozen Top 30 hits like “Sing a Little Song of Heartache” and inspiring legends like Dolly Parton and Emmylou Harris. She also recorded several popular country duets with another legend with ties to southern California – Buck Owens. In 1962, she released the first bluegrass album by a female artist, Rose Maddox Sings Bluegrass, joined by Bill Monroe, Don Reno, Red Smiley, Donna Stoneman, and more.

She would continue to tour and record, even recording an album with Merle Haggard & The Strangers as her backing band. The Hag always pointed to The Maddox Brothers & Rose as one of his influences. Maddox also performed on stage and in studio with California bluegrasser Vern Williams, and even received a bluegrass GRAMMY nomination for her Byron Berline-produced album $35 & A Dream, shortly before her passing in 1998 at the age of 72.

Honky-tonk, bluegrass, rockabilly – Rose did it all and she did it first! So next time you hear a fiery female country singer, tip your hat to Rose Maddox, the original queen of country sass.

Suggested Listening:
Honky Tonkin’” – The Maddox Brothers & Rose
Sing A Little Song of Heartache

Reba McEntire (b. 1955)

From the heart of Oklahoma, one voice has echoed through the decades, captivating fans with her powerhouse vocals and undeniable charm. Reba McEntire, one of the true Queens of Country Music, has been breaking barriers since she first stepped onto the scene in the 1970s.

Her big break came in 1974 when country & western singer Red Steagall saw Reba perform the National Anthem at a rodeo event in Oklahoma. He then helped her land her first record deal. But she was hardly an immediate success, working to find her footing in the music industry and after four years, she scored her first Top Ten hit, “(You Lift Me) Up To Heaven.” After that, she hasn’t looked back!

Reba topped the Billboard country singles chart for the first time in 1983 with “Can’t Even Get The Blues,” the first of her many Number One hits. With over 40 chart toppers and a career spanning more than four decades, she’s done it all. From mega hits to her legendary TV show, Reba, she’s not just a country icon, she’s a cultural force. However, Reba’s most iconic hit only reached #8, from her classic 1990 album, Rumor Has It. A song she learned from Bobbie Gentry, that has been a signature song of Reba’s ever since, it has been certified double-platinum, selling over 2 million copies: everyone loves “Fancy.”

Known for her fierce spirit and down-to-earth personality, Reba’s music continues to inspire generations of fans. Whether she’s singing about love, heartbreak, or resilience, one thing’s for sure – Reba’s voice is timeless. Reba McEntire, a true legend and a voice like no other.

Suggested Listening:
Fancy
Swing All Night Long With You


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Photo Credit: Rose Maddox courtesy of Discogs.com; Crystal Gayle courtesy of the artist; Big Mama Thornton from Ball N’ Chain.

Mixtape: Yarn’s Songs Of and About Pop Culture

I make a lot of references in Yarn’s music about other bands, artists, movies, actors, etc… I didn’t realize how much until I started working on this Mixtape.  Just a few of the things I mention are Jim Croce, Dolly Parton, The Allman Brothers, George Burns, Bob Wills, Waylon Jennings, Velvet Underground, Rex Moroux – and the list goes on. This Mixtape will include references to other artists, food, and places famous in the world of pop culture during its given time of release. – Blake Christiana, Yarn

“Play Freebird” – Yarn

I figured I’d start and end with two of our songs from our new album, Born, Blessed, Grateful & Alive. My wife started writing this one about her father and I took it over and finished it. The entire song is based around another super famous song that Mandy’s dad used to play around the house when she was a kid. And now, if anyone yells out ‘Free Bird’ at one of our concerts, we’ve got something to give ’em.

“You Never Even Called Me By Name” – David Allen Coe

Such a perfect song for this Mixtape. Coe even impersonates the singers he references in this song as well as poking fun at the entire country music genre. Pretty brilliant. Waylon Jennings, Charley Pride, Merle Haggard, and he even references his own name.

“Calling Elvis” – Dire Straits

We could do a giant Mixtape with songs that just reference Elvis alone. I love this one, because just about every lyric is a reference to Elvis and the songs he recorded. Also, Mark Knopfler is THE MAN. More Elvis to come on this list.

“Bette Davis Eyes” – Kim Carnes

I had to include a quintessential ’80s tune on here and this is it. Great voice on Kim Carnes, the perfect sultry rasp. Of course she references the actress, Bette Davis, as well as Greta Garbo.

“Mrs. Robinson” – Simon & Garfunkel

Here’s one with a sports icon reference. Paul Simon has done a lot of these kinds of references in his songs, too, and I’ll include one of those later in the tape. Joe DiMaggio, the famous New York Yankee who married Marilyn Monroe, is mentioned here as ‘Joltin’ Joe.’

“Candle In The Wind” – Elton John

Nice little transition here from The Yankee Clipper to Marilyn Monroe. This entire song is written about Monroe.

“Man on The Moon” – R.E.M.

Lots of references here, but the main star of the song is Andy Kaufman, the brilliant comedian who starred in Taxi in the ’70s. Love Andy Kaufman and R.E.M. Great song. Other honorable pop-culture mentions in this song are 21, Checkers, Chess, and of course Elvis. Also a great Elvis impression from Michael Stipe.

“Nobody Home” – Pink Floyd

The Wall might have been my favorite album as a kid. And in this particular song off that album, Roger Waters sings ‘the obligatory Hendrix perm,’ a direct reference to Jimi Hendrix and his hair style. Glad I got to include Pink Floyd on here. Beautiful song.

“Walkin’ In Memphis” – Marc Cohn

This song just had to be on here. More Elvis for ya, along with WC Handy, Beale Street, Al Green, and more. Another fantastic song.

“Graceland” – Paul Simon

What do you know, more Elvis. I think I need to write a song about Elvis now. This song is too good, it paints a picture as good as any song ever written. Enough said.

“Dairy Queen” – Indigo Girls

I thought we needed some pop-culture food references, so I included these next two songs. Not to mention, Indigo Girls and Amy Ray are my wife’s favorites. Amy Ray’s recent solo records have all been really great and everyone should have a listen.

“Factory” – Band of Horses

I love this tune and its reference to the candy of my youth, Now and Laters. To me, Band of Horses is like a modern day Beach Boys. Great band, great songs, and great harmonies. This song reminds me how half my life is spent in a hotel room.

“I Want You” – Yarn

I reference the 1980 movie, Honeysuckle Rose, with Willie Nelson & Diane Cannon. Not sure anyone saw it, but it’s about an affair on the road between musicians Nelson and Cannon, and the song itself follows a similar plot line. I wrote this song with my longtime writing partner, Shane Spaulding.


Photo Credit: Bob Adamek

BGS 5+5: Matt Koziol

Artist: Matt Koziol
Hometown: Linden, New Jersey
Latest Album: Last of the Old Dogs (out April 5, 2024)

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

I was probably 4 years old and I saw Elivs on TV. It was like watching lightning in a bottle and I wanted to do it. No one in my family really listened to him, but I heard the sounds and the voice and knew that what he did, I loved. It introduced me to every kind of music that has been an influence for me. Rhythm and blues, country, gospel. It all played a part in the music that moves me. I think hearing Elvis for the first time turned a light switch on in my head. It made me realize music was what I wanted and something I would always be working towards.

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

The toughest time isn’t just one moment. It happens often. Co-writing with people, my brain works fast. I had a great writing friend, Jason Nix, once say “dare to be wrong” and it changed my approach to writing in group settings. It made me fluent. When I’m writing alone is when the tough parts come, especially if it’s a subject I feel strongly about. It’s like painting, and you don’t want to use the wrong color you imagine in your mind. Sometimes you have happy accidents, but I’ll use a word or a phrase to describe something in a song and it just doesn’t always make me feel how I felt when that moment happened. The way I’ll work around it is to try and just say what happened out loud like I’m talking to a friend. Then I try to write it in simple language, but every once in a while I just get stuck. And, I mean STUCK. Not a single word comes to mind, or I’m playing the same chords that I’ve used in another song, or a melody that I’ve repeated. At that point, I just put everything down and walk away. I come back to it later, or the next day. The story will still be in my head, but if I can’t serve that feeling justice, then I’ll wait until I can.

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

I was in high school, and I made a demo for the first time. I brought it to my middle school music teacher (Reggie Turner) and had him listen. He told me to come back a few days later to get his thoughts. What I didn’t know is that he would play it for 20 of his sixth grade students and have them write a short review on how they felt. Now, if you ever want brutal honesty, let a bunch of 10 year-olds review your songs. He then showed me the notes and it was ruthless. They said I sounded like I had a frog in my throat, that they couldn’t understand what I was saying. They said they liked the guitar, but it felt messy. I was trying, at that time, to emulate my heroes. I wanted to play like them and sing like them, but it wasn’t my voice. He then said something I’ll never forget:

“You have your own fingerprint. No one else has yours. If you sing like someone else, and try to be their fingerprint, you’ll always be number two. However, if you sing like yourself, you’ll always be number one. No one has your sound, and no one has your fingerprint.”

I take that with me everyday.

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

This is such an awesome question, because I love both of these things so much! I grew up in an Italian household so for me, pasta and wine go with jazz or crooners. Something about good wine and an Italian-made meal feels like Tony Bennett. It feels like Frank Sinatra. When I’m having a good steak and bourbon, I tend to lean towards bluegrass. Something about a rustic meal with my favorite drink bleeds Appalachia. I usually follow up that meal with a fire and more bourbon and a cigar. All those smells and flavors are my favorite. It also depends on people’s tastes, but for me, those are my two ideal pairings for food and music.

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

I have very seldomly put a song out that’s a “character.” Songs like “Work All Day” or “You Better Run, Son” have been songs that are stories for me. Things that I’ve read or seen in movies that give me the feeling and I want to write it down. The only other time I’m writing like that is when I have a person in my life whose story I’m telling because they don’t know how. Everything else, however, is me. I’ve lived it. I don’t always love that I have, but I love that I made it through. One of the things said in writing rooms, especially in Nashville is, “How do we make this relatable?” My response to that is always, “Just write what happened. You’re not the first for it to happen to, and you won’t be the last. Someone else has been through this before, they may just need your words to get them through it.”

I think relating with a song comes from the honesty of the writing. I know that I didn’t have the exact same thing happen to me that caused John Mayer to write “Slow Dancing in a Burning Room,” but I sure as hell had something happen that made me relate to the lyrics. It was his story, and I had mine. I needed his words to find a way to understand how I felt. That’s the power of writing. If it’s honest for you, It will be honest for someone else.


Photo Credit: Kaiser Cunningham

Tyler Childers Announces New Album With “In Your Love” Music Video

Traditional country phenom and Kentuckian Tyler Childers has announced his upcoming album, Rustin’ In The Rain (available September 8, 2023), with a brand new single and music video, “In Your Love.” Written and creative directed by New York Times bestselling author Silas House, the video tells a gay love story between two working class, Appalachian men – played by queer A-list actors and celebrities Colton Haynes and James Scully. The visuals for “In Your Love” tell one of country music’s most prominent and visible LGBTQ+ narratives to date, entering an industry landscape that has become more and more (openly) queer over the past decade.

“In Your Love” reminds of songs and albums released not just by left-leaning, more mainstream artists like Childers and Parker Millsap, but also by queer artists themselves, telling working-class stories and histories just like that constructed and depicted by House and director Bryan Schlam. In 2015, gay banjo player, singer-songwriter, and fellow Kentucky-resident Sam Gleaves released a landmark album, Ain’t We Brothers, which dripped with the exact same lived experiences and soot-tinged patina that inform Childers’ new video. In the past couple of years, releases by LGBTQ+ identified music makers like Amanda Fields, Willi Carlisle, Adeem the Artist, Amythyst Kiah, Jaimee Harris, and more trod similar ground. It’s notable still that an artist – however outlaw- or fringe-identified – as mainstream as Tyler Childers and with as broad a fanbase as his would choose to not only highlight queer, working-class storytelling, but to do so in a way that normalizes and re-centers these ways of being in Kentucky, the South, and Appalachia.

Rustin’ In The Rain will be released via RCA Records on Childers’ own imprint, Hickman Holler Records, on September 8. Via press release, Childers describes the inspiration that birthed Rustin’: “This is a collection of songs I playfully pieced together as if I was pitching a group of songs to Elvis. Some covers, one co-write, and some I even wrote in my best (terrible) Elvis impersonation, as I worked around the farm and kicked around the house. I hope you enjoy listening to this album as much as I enjoyed creating it. Thank you. Thank you very much.”

Clearly, the legacy of “The King” is merely one way drama, mystique, nuance, entertainment, and Southern-ness coalesce within this new project from one of the most exciting voices and perspectives in country.


Photo Credit: Sam Waxman

WATCH: Lyle Lovett, “Teach Me About Love” (From ‘Austin City Limits,’ 1997)

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

Guided by Acoustic Demos, Paul Thorn’s New Album Finds Magic in Memphis

For years, you could always count on a Paul Thorn record for songs about insatiable lust and desire. That’s still true on his newest release, It’s Never Too Late to Call, although that carnal urgency has been overtaken by… yes, actual love. The long-awaited album isn’t exactly sentimental, as “What I Could Do” details the ways his life would be more productive without still being in love with somebody. There’s also “Goodbye Is the Last Word,” an aching slow song that basically offers advice on how to leave a relationship that’s turned toxic. Even the duet with his wife, Heather, is titled “Breaking Up for Good Again.”

Still, on the boisterous “Here We Go,” he sings, “I feel good about what the future holds.” As he should.

“I like to think I’ve just matured a little bit,” Thorn tells BGS. “I’m 57 years old and the way I looked at things 10 years ago ain’t the way I look at them now. If you’re still the same person you were 10 years ago, you wasted 10 years.”

On It’s Never Too Late to Call, there’s not a minute wasted. Thorn can still crank up that R&B groove that’s made him a must-see artist for decades. Meanwhile, “Sapphire Dream” – a duet with his daughter Kitty Jones — stands among his most evocative performances on any of his records. Here, the Mississippi musician tells BGS about how the acoustic guitar shaped these sessions, the bluegrass bands he admires, and what “Sapalo” really means.

BGS: Why was it appealing for you to make this album in Memphis?

Thorn: Sam Phillips Recording Studio in Memphis has a lot of vintage equipment and recording technology that kinda doesn’t exist anymore. The way that Elvis Presley’s records sounded, and the way that Johnny Cash’s records sounded, and many other great artists sounded — in addition to their talent, it was the way they were recorded and the sound that they caught from that studio.

And it’s not Sun Studios. Let me clarify that – Sam Phillips didn’t own Sun. He rented it, but then when he got successful he built another studio two blocks down called Sam Phillips Recording Studio. That’s the studio I’m talking about. A lot of magic was created in there for a lot of reasons. It’s an hour from where I live, so why not?

Did you have an idea of how you wanted this record to sound before you went in?

I really did, yeah. The producer of this record is Matt Ross-Spang. He’s a Grammy Award winner. He’s very good. I was sending him iPhone demos of me just singing with my acoustic guitar on all these songs. We both decided, after talking a few times, that this record should be built around those acoustic demos. I play rhythm guitar on every song, which is something that I used to not do. I used to not play on my records at all. I would just sing it once with my acoustic guitar and the band would play it.

Although that sounds good and it has its place, I think what we captured on this record more defines what I actually sound like and what I do best. It’s a lot more stripped down and it’s not like a jammy record. There are very few solos on any instrument. This record is all about showcasing the songs. I haven’t put a record out of original material in six years and there are a lot of reasons for that, some good, some bad. But I feel like over those years, these songs that I did get are my best work ever. I really feel that way.

Are there any acoustic guitarists that you really look up to?

I know two people who, in my opinion, are the greatest acoustic guitar players. One is Mac McAnally and the other one is Tommy Emmanuel. They’re not only great guitar players but I’m friends with both of them and I know them personally. They’re the monsters! And I mean that as a compliment. I’m not really a great guitar player but I do a thing that’s unique to me. Tommy and Mac, they can sit down and play with anybody. I can play good with myself but I don’t know how to follow other people. These guys are on another planet, as far as guitar players.

Are you a bluegrass listener?

I grew up around two types of music as a child. My dad was a preacher so I grew up around black gospel music and white bluegrass gospel music. You know, there’s a group named Balsam Range who recorded a song I wrote called “Angel Too Soon.” They had a No. 1 on the bluegrass charts and it stayed there a long time. I’m clearly not a bluegrass artist, but I have had songs covered by a top bluegrass artist. So, I have that in me. And when it’s done right, I love it Another group that I’m a big fan of — and in my opinion they do it as good as anybody — is The Isaacs. They do bluegrass gospel and when I watch them, I’m looking at excellence.

On this record, you start out with a couple of mellow songs but then you hit that R&B groove on “Sapalo.” So, I have to ask, what does that title mean?

I was watching a video on YouTube of James Brown, and before I clicked on it, the description said “James Brown High on PCP.” The premise of the video is that he’d just gotten out of jail and he was being interviewed by a very straight-laced lady, a local news anchor. It was clear from the get-go that he was high on drugs while he was doing the interview. She said, “Mr. Brown, how are things now that you’re out of jail?” She said, “How do you feel now?” And he goes, “I feel good! I look good! I smell good! It’s all good! I make love good!” He was saying all this off-the-wall stuff. Then she said, “What are your upcoming plans?” And he said, “Well, I’m going to Brazil. I’m going to São Paulo!” He said, “We’re going to JAM!”

So I was just writing down all of this stuff he was saying, and the song wound up being a song about redemption. At least in that moment, he was claiming that he had put his life back together, which he was lying to himself because he was on TV high on PCP. But I tried to spin it as everyone needs a shot at redemption. It’s about being optimistic with whatever time you’ve got left.

Listening to “You Mess Around & Get a Buzz,” I caught that Clarksdale reference right off. I know that being from Mississippi is a big part of your story, and I’m curious if you ever feel like you’re an ambassador for the state.

Well, I would only say this because you brought it up but I guess I am in some way. When I use the word “ambassador,” to me that means somebody who goes abroad and tells other people about how good it is where he lives. So, in that way I guess I am. I was very flattered a few years ago when the state of Mississippi invited me down to the capitol and they declared March 27 as Paul Thorn Day. So, I got a day! You know, most times you gotta die before you get a day.

You’ve got the same hometown as Elvis. I’m wondering, if you could have pitched him any of the songs you’ve written, which one would you pick?

That’s a hard question, man. I tell you, I wrote a song called “That’s Life.” All the words in that song were words my mother has said throughout my life. I’ve played it a lot and people like the song. If I could get one song recorded by Elvis, it would probably be “That’s Life.”

Your fans often become characters in your songs, too. It happens on this album on “Sapalo” and “Holy Hottie Toddy.” You’ve cultivated one of the most loyal fan bases that I’ve seen. What are some of the things you’ve done right, to keep people invested in you and your career?

That’s a hard question but if I had to answer, I think to get down to the brass nuts of it, they know I love them. You can say that, but a lot of artists will do their show and they walk off the stage and they’re ready to get to the hotel room. I understand that. I feel that way sometimes myself, but at every show – prior to the pandemic – on the last song I always go out into the crowd. And while I’m singing I’m hugging people and shaking people’s hands. And when that’s done I go out in the front and sign CDs and take pictures. I’ll stand there until the last one’s gone.

I don’t do it as a career strategy. I do it because those people got off work, got a babysitter, took a shower, bought a ticket, and they’re going to spend their whole evening with me. And my job is to give them my whole evening. That’s what I try to do. I think that’s why they stay with me, and I think that’s why they’re loyal. They’re loyal to me because I’m loyal to them.


Photo credit: Steve Roberts

John Hiatt, Jerry Douglas Band Dial It In on “Mississippi Phone Booth”

For his new album, accomplished singer-songwriter John Hiatt is partnering with an all-time great of the bluegrass and folk music world — none other than Jerry Douglas. Hiatt’s raucous style and bluesy inclinations marry perfectly with the natural grit and soulful voice that Douglas pulls from the dobro.

Recorded in RCA Studio B in Nashville, Leftover Feelings returned Hiatt to his earliest days in town when he lived in a $15-a-week rented room on Music Row. “I was immediately taken back to 1970, when I got to Nashville. You can’t not be aware of the records that were made there… Elvis, the Everly Brothers, Waylon Jennings doing ‘Only Daddy That’ll Walk the Line.’ But that history wasn’t intimidating, because it’s such a comfortable place to make music.”

Their captured performances are truly spontaneous instances of creation and expression, not bogged down by the weight of calculation or correctness. For example, “Mississippi Phone Booth” struts completely on its own, with the same grease as classic blues records. Watch the new music video from John Hiatt with the Jerry Douglas Band below.


Photo credit: Patrick Sheehan

The Show on the Road – Samantha Fish

This week on The Show On The Road, we jump in our podcast time machine for a face-to-face interview (remember those?) with acclaimed blues and roots guitarist and singer-songwriter Samantha Fish.

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Now based in New Orleans, the SOTR caught up with Samantha Fish at the Sugar Magnolia Music Fest in Mississippi before the world shut down — and to be real, until recently, the very idea of airing this interview seemed inappropriate. Two songwriters speaking into one mic at close range? With everyone crammed into a little trailer? No sanitizer in sight? Indeed.

And yet, as in-person interviews are set to recommence and venues are reopening at last, it felt good to remind ourselves what a real Show On The Road conversation feels like. There are no Zoom glitches or quick edits needed here. We talk about favorite restaurants in New Orleans, dream festival lineups, and guitar solo self-esteem pep talks. We question if Elvis’s ghost is watching over us as we record — and you’ll notice the sound is not pristine, but maybe that’s the best part. You can hear the squeak of the seats, the grit in the voices before they are warmed up for an upcoming set. There’s a band warming up in the background and you can hear Samantha tuning her acoustic guitar just off mic before playing her favorite forlorn love-song, “I Need You More,” near the end.

For folks who are not familiar with Fish’s work, she’s been one of the hardest touring bandleaders on the blues and Americana circuit since she started recording out of her hometown of Kansas City a decade ago. She was still slinging and delivering pizzas then, but now she’s an award-winning veteran of various music scenes and a headliner at music fests from the Crescent City (where she played her first Jazz Fest) to jazz and blues gatherings across Europe and beyond. With seven albums and counting under her belt, including her Memphis brass-embellished latest, Kill Or Be Kind, and her standout rocker, Belle Of The West, (created with Luther Luther Dickinson, which we discuss at length here) Fish is proving again and again that she is in it for the long haul.

One of the more moving moments of the episode centers on Fish’s memories of growing up playing the drums and jamming with her musical family. Even then she didn’t see many girls like her taking the lead guitar as their destiny. She had to believe in herself before anyone else would, and here she is. Representation matters and Fish is showing a whole generation of young players that despite Rolling Stone barely mentioning women in their ongoing “greatest guitarists of all time” lists there are new people who walk and talk and look a little different taking up the mantle of guitar god (or goddess).


Photo credit: Alysse Gafkjen

BGS Wraps: Lullanas, “Blue Christmas”

Artist: Lullanas
Album: Christmas Together (Wherever We Are)
Song: “Blue Christmas”
Release Date: December 4, 2020

In Their Words: “The lyrics to ‘Blue Christmas’ hit a little harder this year (2020). We know many people won’t be having their typical gatherings, and chances are, a lot of us will be feeling blue missing someone. We grew up on Elvis’s version of ‘Blue Christmas’ and couldn’t help but put our own spin on it. We also perform this song every year at the Christmas Village in Philadelphia, so recording this song brought back the warm feeling of live music to us.” — Atisha and Nishita Lulla, Lullanas


Enjoy more BGS Wraps here.

BGS Wraps: Tom Mason, “Little Elvis, King of the Elves”

Artist: Tom Mason
Album: Under a Mistletoe Sky
Song: “Little Elvis, King of the Elves”
Release Date: November 6, 2020

In Their Words: “The holidays are all about nostalgia, and what could be [more] nostalgic than Elvis? As a kid I’d stare longingly at the guitars in catalogues. When I got older, my first traveling gig was with an Elvis impersonator, so I suppose I have a soft spot for the King. I imagined ‘Little Elvis’ as an elfin Elvis impersonator on a cartoon Christmas special we’d see as kids, watching in our pajamas just before going off to bed to dream of the arrival of Christmas. In these crazy, splintered times I wanted to make a holiday CD that was fun and inclusive, focusing on the joyful aspects of the season. I set out to write new songs that would tap into the nostalgia of the holidays. If ever I doubted a song wasn’t Christmas-y enough, there was a simple solution: more sleigh bells!” — Tom Mason


Enjoy more BGS Wraps here.