Tag: film

6 of the Best Roots Songs on ‘Songbirds & Snakes’

Posted on by Lonnie_Lee_Hood

Years before Katniss Everdeen became the bow-wielding, redneck antihero of impoverished coal-mining District 12, there was another — Lucy Gray Baird. In the new movie adaption of the dystopian prequel to the original Hunger Games trilogy, Baird must brave the deadly annual games as well as future-President Coriolanus Snow’s affections.

If it sounds like the makings of a country murder ballad, well, you’d not be far off. Aside from being a multi-million dollar blockbuster event, the new film, officially titled The Hunger Games: Ballad of Songbirds and Snakes, features an excellent original soundtrack produced by Dave Cobb and chock-full of BGS Friends and Neighbors we know and love. The rootsy songs are the perfect backdrop for boot-stomping bar scenes and the desperate struggle against an authoritarian regime that eventually led to the villainous Snow’s power grab. They’re also just plain good!

If you’re new to the Hunger Games, to these artists, or to roots music, we’re happy to be your guide. With performances from Molly Tuttle, Billy Strings, Sierra Ferrell, Charles Wesley Godwin, Bella White, and more there’s something here for bluegrass and Americana fans of all ages. But there are also hidden gems in Rachel Zegler’s performance. Zegler, who portrays Baird, plays a guitar influenced by a very famous finger picker indeed.

In no particular order, here are six of the best roots tunes on the official Hunger Games: Ballad of Songbirds and Snakes movie soundtrack.

“The Garden” – Sierra Ferrell

A slow-moving acoustic, country-ish standard with emotional fiddle swells, Americana firebrand Sierra Ferrell performs “The Garden” on the official soundtrack. The tune features a wistful dream of a green garden watered with something other than salty tears, and of better days ahead.

“Bury Me Beneath the Willow” – Molly Tuttle

Together, Molly Tuttle and Dominick Leslie provide the guitar and mandolin parts heard throughout much of the film, but also on “Bury Me Beneath the Willow.” This tune is more of a bluegrass standard and features Tuttle’s iconic picking style and vocals. The lyrics speak of deep betrayal by a lover.

“Nothing You Can Take From Me” – Rachel Zegler

In the official featurette video for this tune, Rachel Zegler whips a gathered crowd into a barn-stomping frenzy with her vocal performance on “Nothing You Can Take From Me.” While District 12 workers clap and dance and Zegler sings, Molly Tuttle revealed in an Instagram post that she provided the guitar parts.

“I played Lucy Gray Baird’s guitar parts and Dom [Leslie’s] parts are in the Covey Band,” Tuttle said in her Instagram caption. “I was nerding out the whole time we worked on this. Fun fact: the guitar I recorded with is the same one that you see [Zegler] play in the movie. The choice of guitar was inspired by the archtop Gibson that Maybelle Carter plays.”

“Burn Me Once” – Bella White

Bella White’s haunting, vibrato-filled vocals hang in the air on “Burn Me Once,” a finger-picked acoustic tune. The lyrics speak to being heartbroken and wishing for true love with a new, more mature partner.

“Cabin Song” – Billy Strings

By far one of the fastest, hardest-driving tunes comes – perhaps unsurprisingly – from Billy Strings. Employing his famous guitar-picking skills on “Cabin Song,” Strings sings of wishing to go back to the woods.

“Winter’s Come and Gone” – Charles Wesley Godwin

Seasonally appropriate given the movie’s November release date, Charles Wesley Godwin’s smooth but gritty vocals lends the perfect tinge of darkness to lyrics about a little bluebird, being left in the rain and snow, and not having enough money to see the winter through.

Even if you’re not a fan of The Hunger Games, it might be worth hitting up the theatre to support roots music featured in such a high-profile and recognizable title. Or, you know, you could just download, stream, or purchase the soundtrack — it’s available on Spotify, Apple Music, or wherever you get your folk-y tunes!

Lead image of Rachel Zegler as Lucy Baird screenshot from The Hunger Games: The Ballad of Songbirds & Snakes (2023) Special Feature ‘Music.’

Cathy Fink & Marcy Marxer Conquer Cancer and Filmmaking with ‘All Wigged Out’

Posted on by Justin Hiltner

There is hardly a sphere of the music industry that musicians and community builders Cathy Fink & Marcy Marxer have not conquered, from bluegrass and folk music to children’s music and the Grammys. Now, these multi-hyphenate musical polymaths have set their sights on a new medium through which they can create, storytell, and connect with audiences: film. 

All Wigged Out is a documentary musical film that tells the story of Marxer’s journey through breast cancer diagnosis, treatment, and recovery. The film, which will be available on demand May 16 on Amazon, Google, and many more, utilizes musical mastery, eclectic wit, storytelling, and comedy to share the poignant, bittersweet, hopeful, and downright zany tale spun together from Marxer’s unique perspective, writing style, and multi-instrumental approach. On April 28, an album of the catchy, hilarious, and touching songs from the musical – entitled, All Wigged Out: Songs from the Musical – will be available wherever you download and stream music. (Pre-order on Bandcamp). Watch a trailer for the film:

“[All Wigged Out] is a way to entertain people, but educate at the same time – educate patients and caregivers,” Marxer explains via phone. “Not educating in a condescending way, but there were just so many things that I could not expect, that I didn’t know how to deal with. This is just a way of sharing my experiences – which is just one experience – and help folks to live life one day at a time, doing your best with what you’ve been given to make decisions and move forward. And the next day, when everything changes, you still just make the best decisions that you can at that moment. Then you can live life with no regrets.”

“And don’t lose your sense of humor!” Cathy adds from the background – they both laugh.

Over the course of their widely variable careers, Fink and Marxer have certainly never lost their senses of humor – cancer or not. Together and separately, their careers have exceeded four decades in folk music, old-time, bluegrass, children’s music, and so many other realms of the entertainment industry. It comes as no surprise, that despite not having any prior experience writing, producing, and staging a musical documentary film, that they were able to leverage their personal and professional communities, teach themselves these often punishing skill sets with steep learning curves, and put together a film that’s musically engaging, humorous, joyful, and actually says something. All at a markedly clean-and-crisp, professional level.

All Wigged Out also shines a spotlight on Cathy & Marcy’s relationship, the way they rely and depend on each other not only in their musical careers, but also in their personal lives. They demonstrate, through this film and in all their efforts, that their penchant for community and community building starts at home. They’re committed leaders, mentors, and friends to all in the roots music industry and beyond, so it feels absolutely grounded and genuine to see them both expand their vision for community to include cancer support groups, associations, and all kinds of organizations with missions of supporting and uplifting folks who have had cancer touch their lives. 

With no shortage of laurels and film festival accolades, All Wigged Out is certainly poised to bring Fink & Marxer and their community-minded music to so many new audiences within and outside of the music community, especially with their activist and organizing experience. They’ve taken All Wigged Out to screenings, talk-backs, fundraisers, discussions, and panels, often partnering with Cancer Support Communities and Gilda’s Clubs, as well as making appearances at the NC Museum of Art, Silicon Valley Chamber of Commerce, American Nurses Association, National Women’s Music Festival, and so many more.

This week, in celebration of the film’s release, they’re partnering with Ebeauty on a film screening and panel that features Marxer, her surgeon, and a representative from Ebeauty, which is a non-profit organization that facilitates cancer patients obtaining wigs and other cancer resources. During the event, Marxer will donate the film’s titular wig to Ebeauty, which will use the hair piece to train wig technicians and cosmetologists on wig styling for patients, then the wig will be passed along to another cancer patient facing hair loss as part of Ebeauty’s wig exchange program. This is just one example of the many ways this film and its music can touch folks’ lives and help them on their own journeys back to health and wellness.

Whether teaching ukulele, competing in local fiddler’s conventions, participating in diversity, equity, and inclusion efforts, or just camped out in a festival parking lot picking, Cathy Fink & Marcy Marxer lead by example, putting their hearts and souls into everything they make and by doing so, they open a wide, hospitable door to anyone and everyone they meet. The connection, compassion, and poignance of All Wigged Out will make this task even easier, despite its often challenging or bittersweet subject matter. The joy – and the belly laughs – in this film are second only to what we love most about Cathy & Marcy to begin with: their music.

Photo credit: Todd Rosenberg

‘Hard Luck Love Song’: It’s Americana Music, But as a Movie

Posted on by Editor

Filmmaker Justin Corsbie’s Hard Luck Love Song is a caring homage to Americana music and specifically to the music and culture born in Corsbie’s hometown of Austin, Texas. The story is based on the famed Todd Snider song “Just Like Old Times” and uses a plethora of songs from many pillars of Americana and folk music. From Townes Van Zandt and Emmylou Harris to Gram Parsons and Daniel Johnston, Hard Luck Love Song sews Snider’s lyrics into the fabric of this timeless music, creating a truly authentic film that immerses the audience in the ethos of Americana.

Asked about music as inspiration, Corsbie says, “Good music creates such a visceral experience, and storytelling songs have always offered a great window into the less explored corners of American life. Todd’s song was a great jumping off point for this film because it set up an amazing vibe and introduced characters that I wanted to know more about. Todd has an uncanny ability to blend drama, humor, grit and wit, and I humbly tried to infuse this film with those ingredients through my lens as a filmmaker.”

As this debut feature has made its rounds at film festivals, piling up awards along the way, it has become clear that Hard Luck Love Song remains a passion project. This talented filmmaker has created a movie using stories, settings, and songs that are incredibly dear to his heart. The film arrived in theaters this month via Roadside Attractions. Check your local listings and see what the heart of Americana music looks like on the silver screen.

Lead photo: Sophia Bush and Michael Dorman in Hard Luck Love Song
Photo credit: Andrea Giacomini. Courtesy of Roadside Attractions

These Members of the Roots Community Embraced Innovation Amid a Pandemic

Posted on by Editor

The roots music community, like the rest of the world, faced an uncertain future as the pandemic essentially wrecked everybody’s plans in 2020. However, a number of musicians and industry leaders figured out a way to navigate the uncharted waters with grace and bravery. The Bluegrass Situation invited five members of the roots community to share their thoughts on how they harnessed their creativity and embraced innovation over the last 12 months.

Billy Strings, Winner of “Breakthrough Artist of the Pandemic” at the 2021 Pollstar Awards:

It was almost kind of a welcomed break, you know? I was tired, man. We had toured our asses off and I was like, I don’t know if I can do this anymore. Then all of a sudden, this stuff happened and we got a big break. And now I realize how lucky I was. Now there’s nothing I’d like more than to be stuck in some hotel room somewhere after a gig with some random folks at 3 o’clock in the morning, just hanging out and having a good-ass time.

For one thing I wanted to get the quality [of livestreaming] better than what I could do at my house. It started with just me on my couch playing, and the next thing you know we’re doing that tour where we’re playing the Exit/In and gigs around Nashville. It was kind of cool and eerie and weird. I’m just thinking, I know there are people out there watching us, but they’re not here and I can’t see them. When you’re used to playing for crowds, it’s like, man, this sucks! [Laughs]

We did debut a lot of songs at the Capitol Theater when we did our gigs there in February. We played like 16 brand new songs when we were over there. … People will go on fan pages and say, “Holy shit, did you hear that song?!” I don’t want to pay attention too much to that, because it just feels like you’re playing for the internet, but then it is good to get a good little gauge on what songs they’re digging.

Mercy Bell, Singer-Songwriter and Cast Member of the New Documentary, The Sound of Us:

I think a fallow season is really important for everyone, or we’re producing from an empty well. Not of creativity, I think creativity is always there, but contrary to popular opinion of the tortured and manic creator, even artists need to sleep and drink eight glasses of water a day. Like all of us, I spent 2020 trying to survive. I had a nervous breakdown. I lost my job. I had a heartbreak. I turned to art, pop culture, movement, exercise, my cats, meditation, to keep me going. …

There was a period of time I didn’t know if I’d make it. I was in a pretty dark place before I got some new treatment for my mental health. I was obsessively walking 14 miles a day, really scared, really not wanting to be alive, in quarantine far from my family, unemployment wasn’t coming through. Scheduling livestreams gave me something to look forward to. Playing music to my supporters, all over the world, it made me feel less alone. I don’t know how any performance will ever beat that. We really needed each other. Singing to people gave me a reason to keep going in the most literal sense. And my supporters also kept me fed! All those $5 tips kept groceries in my fridge. And then Netflix and podcasts, Cardi B’s “WAP,” and my cat kind of saved me. It gave me something to look forward to. That’s the power of art and pop culture, and pets. It cuts through to places we can’t get to. It got me through each day, one day at a time.

Without giving too much away, The Sound of Us spotlights a variety of musicians and the incredible impact their work (or lack thereof because of COVID) has. Some of those highlighted include folks working to bring music to underprivileged neighborhoods, into prisons and hospitals, working on researching lost works of art from the Holocaust and other genocides, and of course, how musicians were affected by institutional racism and the pandemic. When I saw the screening, I cried all my eye makeup off. It’s an incredibly emotional and profound documentary. I am so proud to have been part of it.

Robert Meitus, Co-Founder and VP of Industry Development of Mandolin.com:

Roots music fans tend to have a strong connection with artists and a desire to connect frequently and deeply. Additionally, the nature of roots music itself is built around intimacy, vulnerability and honesty, so that desire for connection really runs both ways. Mandolin’s vision has always been to build a space in the digital world where the noise of the industry fades away; one where a musician and their fans can connect not only through a concert stream, but through other unique experiences like interactive/online VIP events, soundchecks and workshops with artists.

Specifically, Mandolin started with a name that is itself an acoustic instrument and a workforce full of people who had worked a lot with roots music, including among others: myself, representing as an attorney artists such as John Prine, I’m With Her, and Keb’ Mo’; Jason Wilber, longtime guitarist for John Prine; and Larry Murray, formerly of the Luck Reunion. The name and connections naturally led us to develop the roots music connections in our first year, although Mandolin’s technology and services are certainly applicable to all music genres.

I have been a bit surprised at the almost uniformly positive views about integrating streaming into the live festival experience. It helps that cameras have been in place on and around stages for many years already, largely for the IMAG projections on the sides of stages, so musicians are used to this. COVID introduced livestreaming technology and practices to the music world at a much faster rate than would have been the case otherwise, and we have all learned how technology can connect us around the world and accommodate those that may be challenged to attend an event in person. The result is that, coming out of the pandemic, I believe bluegrass and other festivals will be more interested in the hybrid livestream for all sorts of reasons. This may be a bold claim, but I would expect that almost every festival — roots or otherwise — will have a virtual experience component. Think about it: with a phone in hand, every single fan is a digital fan, whether they are streaming at home or on the festival grounds.

Jackie Venson, R&B/Soul Artist and Guitarist from Austin, Texas:

I was pretty well-versed in livestreaming pre-pandemic. I had a series called Jackie Venson Live on Thursdays, which was an effort to help sell tickets to my album release at the Paramount in Austin, Texas, in 2019. I saw the potential in it when it first came out in 2014. I attempted to livestream a concert from Berlin, Germany, but the technology just wasn’t there yet so it was a really bumpy experience. I remember feeling really grateful that the technology existed when the pandemic was ramping up so that I could keep performing once there was no option for in-person shows. There was literally nothing else to do, and when there’s nothing to do I lose my mind and default to the first thing I can think of, which in this case was filling the performance void with livestream performances.

I used my Austin City Limits TV performance as a platform for Black Lives Matter because that episode will be rerun and it’s important to me that this message doesn’t die. The response overall was positive; of course there were some naysayers but that’s why we need to keep repeating the message. During the pandemic I received overwhelming support and positive feedback from the Austin music community. Everyone was on the same page and it seems as though things are changing for the better. I will absolutely continue to stream from home when possible, and I plan to livestream some of my shows from the road for those who want or need to stay home. I think livestreaming will be a staple in the world of live music. It makes live shows accessible to those who are unable to come out due to economic, accessibility, or other issues. (Read the BGS interview.)

Aengus Finnan, Executive Director of Folk Alliance International:

Everything was upside down last year, but the greatest challenge was envisioning and delivering an event we had never done, with half the staff, all new software, no roadmap, and little sense of whether anyone would want to gather online 11 months into a Zoomed-out pandemic. Being able to offer a sliding scale registration fee, including free, was absolutely necessary given how hard hit our community was, and despite that approach, we exceeded our modest revenue goals to cover the costs of the new online systems we used. The most rewarding element was definitely having new artists and industry join us for the first time, and to see a sharp increase in BIPOC and marginalized community representation across all panels. That happened because we were able to extend invitations to participate in more accessible ways. We were also thrilled to finally provide honorariums to all panelists this year, which we are committed to continuing.

Personally, it’s a joy to see FAI play a part in curating, commissioning, and compensating artists for meaningful new content and partnerships, which is the central aim of our Artist In Residence program — playfully renamed Artists in (Their) Residences this year for the pandemic. There were certainly some artists we approached who simply don’t do co-writes, some for whom the online process felt odd, and others who, while flattered, were simply too busy with other projects or recordings. But for the most part, there was instant interest, especially when they knew that one of their peers had selected or recommended them. The cross-border collaboration as part of a bigger collective project, reflecting on a traumatic year, with the added element of raising awareness for The Village Fund to support the community rang a lot of “count me in” bells.

We are already full steam ahead with a hybrid event this year, and we’re not looking back. Our focus will naturally be on ensuring that the in-person event is top-notch and delivers the experience we all know and love, but there are thousands of people who can’t attend each year, for myriad reasons, and providing online content, as well as live-streamed and interactive content enables more community engagement, participation, and inclusion, and builds bridges and connections that folks will use as an entry point leading to the growth of our genre and industry. While daunting, we’re excited about the opportunity to innovate what we do and offer, and who we can reach.

Photo of Billy Strings by Emma Delevante

WATCH: Leon Creek, “Call It A Day”

Posted on by Editor

Artist: Leon Creek
Hometown: Los Angeles, California
Song: “Call It A Day”
Album: Far From Broken
Release Date: September 21, 2021

In Their Words: “An element of grain is a part of the Leon Creek records, so working with the photographer and videographer Chase Hart, who only shoots on film and Super 8, has been a great fit for us. We were excited by the Super 8 footage Chase got during our first shoot in Santa Barbara, so we wanted to round out the video with some clips from L.A., where we met and started making music together. Bobby Womack’s BW Goes C&W was an inspiration in making our record, so we aspired to have an element of ’70s country western sprinkled throughout the video. Enter Chicago-based editor and animator Jordan Rundle. Jordan added animation and moving graphics, along with some analog visual effects to his final cut of ‘Call It a Day.'” — Leon Creek (Chris Pierce, Matthew Stevens, and Erik Janson)

Photo courtesy of Tell All Your Friends PR

Somewhere Out There, These 9 Songs from Cartoons Stand on Their Own

Posted on by Justin Hiltner

Adults who have happened to spend any amount of time watching children’s TV and cartoons – say Winnie the Pooh, or Looney Tunes, or The Amazing World of Gumball – know that plenty of jokes and gags aren’t written for the kids tuning in at all. Certainly the same fact is true of many soundtracks and scores. Originally intended for younger audiences, these nine songs from popular cartoons supersede their animated film origins. Some have gone on to become modern classics, others popular karaoke anthems, Americana covers, and even a drag queen number or two. No matter the context, each of these songs stands on their own.

Bonnie Raitt: “Will the Sun Ever Shine Again,” Home On the Range

A ragtag group of livestock must save their family farm, “Patch of Heaven,” from a thieving-cowboy-would-be-rancher-and-real-estate-magnate. Along their journey, quite a few problems arise for the cows and crew, and right when you realize all hope is lost, Bonnie Raitt’s voice comes wafting on the Western wind. A nearly perfect, succinct package at 2:30 long, “Will the Sun Ever Shine Again” deserves a spot in the modern country canon. Instead, it’s nearly hidden away on this 2004 Disney release.

Linda Ronstadt: “Somewhere Out There,” An American Tail

Immigrant mice find themselves journeying to America in this 1986 Steven Spielberg-produced classic cartoon, which was so popular a sequel was released in 1991. (Hear a track from its soundtrack later in this list.) The main character Fievel’s sister, Tonya, has designs on starhood, singing “Somewhere Out There” exquisitely and mournfully — and apparently poorly by mouse standards. But her family uses the tomatoes flung at her for dinner. Linda Ronstadt reprises the track on the soundtrack, belting the epic arrangement as only she can.

Randy Newman: “You’ve Got a Friend in Me,” Toy Story

Randy Newman’s soundtrack offerings for all of the Toy Story movies epitomize the central concept of this list: Songs that are just good, whether they’re from an animated film or not. Other soundtracks from the franchise feature Riders in the Sky, Sarah McLachlan, Judas Priest, and Chris Stapleton. All are fantastic, but “You’ve Got a Friend in Me” is certainly the piece de resistance.

Shelby Flint: “Someone’s Waiting for You,” The Rescuers

A haunting, morose, nightmarish — and hilariously entertaining — tale of an orphan kidnapped by treasure hunters, The Rescuers follows two mice from the Rescue Aid Society as they join an albatross to attempt… well, a rescue. “Someone’s Waiting for You” captures the melancholy of loneliness and isolation so well, with a tinge of solemn hope. The classic Disney animation style and southern bayou setting are simply gorgeous and the Golden Age of Hollywood orchestration is decadently nostalgic.

Helen Reddy & Sean Marshall: “It’s Not Easy,” Pete’s Dragon

A groundbreaking film for its time, 1977’s Pete’s Dragon combined live action and animation — so we’re sneaking it onto this list on that technicality. Another song from the film, “Candle on the Water,” was nominated for an Academy Award for Best Original Song, but “It’s Not Easy” might be the movie’s best. Helen Reddy, who passed away in September of 2020, had multiple Top 10 hits in adult contemporary and pop. Her performance — on this song and throughout the film — certainly sell it.

Bryan Adams: “Get Off of My Back,” Spirit: Stallion of the Cimarron

Spirit: Stallion of the Cimarron was one of the first feature-length animated films to effectively and seamlessly combine traditional animation with more modern, computer-generated 3D animation. It’s a hugely popular film, but somehow still grossly underrated, and Bryan Adams’ deliciously early 2000s soundtrack is still impeccable. Several songs could’ve made the cut for this list, but we’ve gone with the high-energy, joyfully defiant “Get Off of My Back.”

Lea Salonga: “Reflection,” Mulan

A ballad and anthem that’s something of a queer rite of passage for Disney millennials: “If I were truly to be myself/ I would break my family’s heart….” This rendition of “Reflection” is a rare instance of the score version being better than the credits version. (No shade to Christina Aguilera.) Lea Salonga so relatably embodies Mulan’s longing to live her truth. Just try not to sob-shout along.

Whitney Houston & Mariah Carey: “When You Believe,” The Prince of Egypt

All epic cartoon powerhouse ballad duets must be second to this one, a smash hit from Dreamworks Picture’s The Prince of Egypt. How blessed are we to have Whitney and Mariah trading runs on this loosely Bible-themed melodrama-via-song? If you didn’t start out at the beginning of the song as a believer in miracles, by the end you will. “When You Believe” reached number 13 on Billboard’s Hot 100 chart and was released by Carey on her Number 1’s compilation album.

Linda Ronstadt: “Dreams to Dream,” An American Tail: Fievel Goes West

We simply had to include Linda Ronstadt — and the An American Tail franchise — twice. “Dreams to Dream,” another credits reprise by Ronstadt, nearly blows the doors off “Somewhere Out There” with its soaring modulations and Ronstadt pulling out all of the stops. How one voice, one woman, could out-power an entire orchestra and rock band combined defies reason. Except, with Linda, that level of energy, charisma, and raw presence is the norm rather than the exception. Try to listen through to this song just once. It almost begs being played on repeat.

LISTEN: Ryan Dugré, “Powder Rains”

Posted on by Editor

Artist: Ryan Dugré
Hometown: Holyoke, Massachusetts
Song: “Powder Rains”
Album: Three Rivers
Release Date: Feb 19, 2021
Label: 11A Records

In Their Words: “‘Powder Rains’ was written for a potential film placement which did not pan out. It started with the image of being on a train sitting opposite of the train’s direction, slowly gaining speed. I tried to create this feeling in the recording by adding parts in slowly throughout the song, and by increasing the tempo halfway through. Mixer Leo Abrahams added to this by accentuating the swirling, circular sounds, building to a feeling of arrival at the very end.” — Ryan Dugré

Photo credit: Annette Wong

Artist of the Month: ‘O Brother, Where Art Thou?’

Posted on by Editor

Twenty years ago, in 2001, the music of O Brother, Where Art Thou? captivated America and, suddenly, bluegrass appealed to pretty much everybody. We could all sing at least a few words of “I Am a Man of Constant Sorrow,” though admittedly not sound as good as Dan Tyminski or the Soggy Bottom Boys. Roots music heroes Emmylou Harris, Alison Krauss, and Gillian Welch added more positive press to their résumés, and before it was all over, the generation-spanning collection won multiple industry accolades, inspired a national tour, and even led to the first-ever Grammy Award for Dr. Ralph Stanley.

The song choices were largely well-known to dedicated bluegrass listeners, but even so, chestnuts like “I’ll Fly Away” don’t routinely end up on albums that sell eight million copies. Legends like Norman Blake and The Fairfield Four shared the spotlight with rising talent such as Chris Thomas King and The Peasall Sisters. Two decades later, The Whites still perform their version of “Keep on the Sunny Side” on the Grand Ole Opry at nearly every appearance, and to be sure, the audience smiles and applauds to hear it again.

This month, we’ll look at the legacy of that landmark album as an inspiration to a new generation of acoustic musicians, along with an interview with family members of John Hartford, whose name is back on the Grammy ballot this year for the collaborative album, The John Hartford Fiddle Tune Project, Vol 1. We’ll also have a special edition of our Roots On Screen feature about the film. Plus, check out a special IBMA Awards show performance of “Down In the River To Pray” and an archive edition of The Breakdown. And to finish out the month, we asked a crew of young bluegrass and Americana stars what the film means to them. While you’re at it, put down the Dapper Dan and turn up the O Brother, Where Art Thou? soundtrack below.

 

WATCH: The Arcadian Wild, “Fall: War”

Posted on by Editor

Artist: The Arcadian Wild
Hometown: Nashville, Tennessee
Song: “Fall: War”
Album: Principium
Release Date: January 2021
Label: The Arcadian Wild/ONErpm

In Their Words: “I’m really excited about how the arrangement and recording of ‘Fall: War’ turned out. Isaac (guitarist/co-writer) and I pseudo-finished these songs that make up Principium and put a pin in them a few years ago, but they really came into their own when we dusted them off at the beginning of 2020. I think the time simmering on the back-burner served them well, and we were able to bring them to life in a way that wasn’t initially possible. Bailey and Erik (fiddle and bass, respectively) were wonderful collaborators, and they played irreplaceable roles in shaping and refining the music. We’re grateful to have had their artistic voices as a part of this process.

“‘Fall: War’ was actually the creative starting point of Principium, even though it’s the third of four movements. In some ways, it’s the heart of the work. It’s also the most physically intense song in the cycle, which gave us a fantastic opportunity to pretend to be a rock band, so my high school pop-punk dreams have all come true. Moreover, I’m totally blown away by the short-film installment for ‘Fall.’ Greyson Welch has done an incredible job of telling this story visually, and I am so proud to work with such a gifted team of artists as we realize a little passion project that’s years in the making. It’s great to finally get to share it.” — Lincoln Mick, The Arcadian Wild (mandolinist/writer)

Photo credit: Shelby M’lynn Mick

MIXTAPE: Jim and Sam’s Songs That Got Us Through Playing One Show Every Day for a Year

Posted on by Editor

“We discovered these songs right before we left home, while we were on the road, or soon after we got back from our 365-everyday tour. Each song is soaked in nostalgia and transports us right back into the wildest year of our lives. The songs of ours that appear on this Mixtape were born during or inspired by our tour.” — Jim and Sam, from the film After So Many Days

Jim and Sam – “After So Many Days”

On day 360, we were nearing Santa Barbara on our last cross-country trip of the tour. We were both feeling overwhelmed, sad, excited, and confused as we were inching our way back home to Los Angeles. We were listening to songs we had discovered while traveling throughout 14 different countries, when the last song came to an end. The car was quiet, tears were rolling down both of our faces, and we decided to pull over into a strip mall parking lot to take a break. We pulled out the guitar and a notebook, and this song came pouring out. We ended up using the original audio recording of this writing session as the soundtrack to the final moments of the film. When the tour ended, we tucked the song away for a while, and it ended up being the last song we recorded for the album.

Lucinda Williams – “Passionate Kisses”

This song captures so many of the simple things we want out of life and our career. Lucinda’s endless drive as an artist has always inspired us. “Is it too much to demand/ I want a full house and a rock-‘n’-roll band/ Pens that won’t run out of ink/ And cool quiet and time to think…”

Mulligan Brothers – “So Are You”

For 30 days we were on tour in Sweden with the amazing bluegrass band, The Mulligan Brothers. It took us all a few nights to get comfortable with each other, but once we did, the rest of the month felt like summer camp. Whether it was sitting on the stage after a show telling stories all night, late night fast food runs, discovering small Swedish towns together, or just listening to their amazing music night after night — having another road family for a month was a really magical and necessary part of the year.

Katie Melua – “Mary Pickford”

There was a week where we had to keep booking, cancelling, and rebooking our flight because our plans were changing. Every time we called up Norwegian Air, this song was playing in the background. What started out as an earworm became a song that traveled with us throughout the rest of the year and we now love. It’s also a beautiful song about the power of collaboration.

Jim and Sam – “Bloodstream”

The song is about trusting someone enough to let them see (and help you calm) your panic. It’s also about being there for the person you love in their most vulnerable moments. This song was co-written and produced by one of our best friends, Hustle Standard. HS had surprised us along the tour by attending several shows in LA, New York, and Houston. Knowing he had seen firsthand how we were struggling and changing during the tour, we knew we wanted to collaborate with him for the record.

Grateful Dead – “Brokedown Palace”

We got invited to play a birthday party at a farm filled with alpacas and goats in upstate New York, and were asked to play any Grateful Dead song we knew. Not being too familiar with The Dead we asked a Deadhead friend of ours what song we should cover… with no hesitation they texted back, “Brokedown Palace.”

Lauren Ruth Ward – “Did I Offend You”

We met Lauren playing on the same bill at Echo Park Rising in Los Angeles. We were first to go on that day and no one was in the room except for Lauren and LP. We stayed to watch Lauren’s set and were blown away by her power on stage. Even in the quiet moments she took up all of the space in the room. We’ve been a huge fan of hers ever since… This is one of our favorites.

LP – “Lost on You”

We met LP the same night we met Lauren. About a month later we went to watch her at an intimate venue in LA. We heard her sing a song called “Lost on You” (before it became the global hit that it is now). Jim and I turned to each other as we normally do when we both hear a song we love. About a year later, she was touring all over Europe and asked us to join her for a few shows during our year. After so many days of small and strange venues, playing to a sold out room of 3000 people in cities we had never been to was insane.

Rayland Baxter – “Yellow Eyes”

Something about the sound of this song reminds of the lines on the road when we’re leaving a city we just played in.

Jim and Sam – “Cold Cold Blood” (feat. Good Harvest & Rob Lewis)

A good friend of ours, Jono Hart, was putting on shows in churches throughout the UK. We actually met him right before our tour began. He said to us, “Any time you’re in the UK let me know, and if you need a church or a show, give me a call.” He ended up booking us some of our favorite shows on the tour, and he also gave us the key to this gorgeous church in Stoke Newington, London, to record. In the pouring rain, our friend, composer and cellist Rob Lewis, kindly let us borrow his gear and talent and we recorded this version in about 45 minutes before we had to leave. We then asked one of our favorite duos from Sweden, Good Harvest, to contribute their incredible harmonies to the track about 200 days later in another church, this time in Falun, Sweden. Finally, we had Tyler Chester record guitars in a garage in LA and Ryan Lipman mixed the track somewhere in Highland Park.

William Fitzsimmons – “Second Hand Smoke”

A year after our tour we got invited to support William Fitzsimmons throughout North America and Europe in a few venues we had always dreamed of playing. Picking a favorite from William is hard, but even after 40 nights of hearing his set… we’d usually always stand in the wings to listen to this one.

Tom Petty – “Walls”

Tom Petty passed away during the last month of our tour and became the soundtrack of our final month while driving home. We still quote this song everytime we are having a bad day… “some days are diamonds, some days are rocks.”

Chimney – “Paintings Are the Only Place You Never Lied to Me”

Chimney (aka Dan Molad) is a longtime friend of ours and also the producer of our Yeah Whatever Young Forever EP as well as the soundtrack tracks, “Unravel” and “Saturday Night (Low).” Jim wrote this song with Danny about our mutual friend who passed away. A few months before the tour, Danny had Facetimed Jim asking to help expand on an idea he started. One hour later, the song was finished, and 48 hours later Danny had recorded the song for his debut record.

Indigo Girls – “Closer to Fine”

We often roll the windows down and unapologetically sing this song at the top of our lungs like two high school girls getting ready for choir practice.

Jake Hill & Deep Creek – “High & Low”

Jake Hill is one of our oldest friends and remains a songwriter who is constantly inspiring us with whatever he’s creating. During our tour he hosted us for an event called Supper & Song in Plymouth, Massachusetts, where he would prepare an incredible three-course meal for a room full of people in a building from the 1800s…he would then play a few of his amazing songs and introduce another artist to perform. This was easily one of our favorite evenings on the tour and this is one of our favorite Jake Hill songs.

Jim and Sam – “Witch in a Window”

Upon returning home to LA from the tour we felt some whiplash; we had just emerged from feeling so inspired after having such intimate and real connections with strangers all around the world, then all of a sudden were thrown back into a city and industry obsessed with first impressions and fueled by small talk. Everything felt magnified. We began noticing people morphing into different versions of themselves to fit in or get ahead. We love LA; however, “Witch in a Window” is our tribute to the trickery and disguise the city perpetuates and makes us all believe we have to keep up with.

Rob Lewis – “The Sea”

We first heard this song from our friend Rob Lewis as a demo in his car on a rainy night in London. This song and all of Rob’s music is ethereal, calming, surprising and inspiring. Rob played cello on a few songs on our album and also contributed a few stunning score pieces to the film.

Starship – “Nothing’s Gonna Stop Us Now”

Self explanatory.

Photo credit: Mike Zwahlen