Tag: Folk

Eight Great Cuts of “Eighth of January”

Posted on by Justin Hiltner

It’s one of bluegrass and old-time’s favorite days of the year! The “Eighth of January” can be heard from every jam, every folk club, every radio tuned to the bluegrass airwaves – well, it ought to be like that.

To do our part, we’ve collected eight great versions of “Eighth of January,” that is, “The Eighth of January,” or “Jackson’s Victory,” or “Gulf of Mexico” to mark this auspicious day. At the end, we hope you’ve found a new lick to add to your own versions of the tune and we hope “eighth” doesn’t look like a word to you anymore, too!

Tui

Let’s start with a decidedly old-time take from fiddle/banjo duo Tui, AKA Libby Weitnauer and Jake Blount. Here’s hoping you make a stank face when they ever-so-slightly pass over the b7 — if you recall your last music theory course, see also: “the subtonic” — in the B part. (If the parts have been counted wrong, this writer begs your forgiveness.) The frailing rakes by Blount on the banjo, the pair’s playful deviations from each other, only to return, totally enmeshed a moment later… it’s delicious.

Charlie Walden

The old-time fiddler of Missouri, if Charlie Walden doesn’t come up in the first round of results when you search the internet for “Eighth of January” something is very wrong. His command of raw, timeless (and seemingly effortless) fiddling stems from a wealth of talent combined with his insatiable appetite for tunes — he’s collected countless melodies, stories, and songs from fiddlers all across his home state.

Tony Rice

An old-time fiddle tune fully assimilated into the bluegrass canon? This right here is how. That’s Darol Anger and David Grisman on the tasty twin parts, Todd Phillips on bass, and the one and only Tony Rice holding it down and shredding it up all at once. Every time they slightly push, syncopating the tail-end of a random melodic phrase here and there, a shiver should go down your spine.

Jeremy Stephens

No one alive plays Don Reno-style banjo better than Jeremy Stephens. Full stop. Now, if you’ve already hit play and have listened through to his first solo, you should know this: He recorded Scarlet Banjo at the ripe old age of 16. You know him now thanks to his quintessential sound with High Fidelity, but Stephens has been burning a torch for unencumbered, fully-realized traditional bluegrass for a long time. And it’s always been this good!

Scotty Stoneman with the Kentucky Colonels

The Kentucky Colonels were inducted into the Bluegrass Music Hall of Fame in 2019 and though Stoneman was not an original member, he left an indelible mark on the band’s legacy, which manifests chiefly through his “hot” fiddling on the band’s essential live recordings. Though fans may be most familiar with hearing the Colonels hold on for dear life in the wake of his bow at truly incomparable tempos, Stoneman is relatively subdued in his captivating improvisations over “Eighth of January.”

Eric Weissberg

Deliverance reverberates throughout the ages for all of the wrong reasons. If you forgot this was on the original soundtrack to the infamous film, we don’t blame you. That’s why we’re here to remind. Weissberg’s banjo playing — especially his fantastic melodic approach, heard here — certainly deserves more recognition than simply being regarded as the originator of “Dueling Banjos” in its modern form.

Johnny Cash, “The Battle Of New Orleans”

We may have neglected to mention earlier that this tune is named “Eighth of January,” commemorating the day of “Jackson’s Victory,” because (cruel, genocidal) President Jackson won “The Battle of New Orleans” that very day in 1815. Yes, this tune has a lot of titles — and lyrics, to boot! Here’s the Man in Black lending the dusky patina of his baritone to our song du jour.

Allison de Groot & Tatiana Hargreaves

This particular variation on “Eighth of January” was found in recordings of African American musicians Nathan Frazier and Frank Patterson, who were first recorded in Nashville in the 1940s, so you’ll notice de Groot and Hargreaves stray from the melodic phenotype of the others on this list. It’s a gentle reminder that the way these tunes travel — from picker to picker, across generations, across counties and countries — is just as important to the history of string band music as the tunes themselves. Just about a year ago (hmm, how is that so easy to remember?) we featured this track in an edition of Tunesday Tuesday, solidifying this BGS tradition.

Photo of Tatiana Hargreaves (L) and Allison de Groot: Louise Bichan

LISTEN: James Steinle, “Back Out on the Road”

Posted on by Editor

Artist: James Steinle
Hometown: Pleasanton, Texas
Song: “Back Out on the Road”
Album: What I Came Here For
Release Date: February 7, 2020
Label: Shotgun House Records

In Their Words: “‘Back Out on the Road’ is about putting a face on in a relationship — and how one day the final straw breaks the camel’s back and you’re off to the races. One of the topics I visit a bunch on this record is the idea of being unhappy in a relationship and having the hunch it won’t work out in the long run, competing with a personality type that makes it hard to see people hurt. And so the vicious, drawn-out cycle begins. It always makes matters worse.” — James Steinle

Photo credit: Juliet McConkey

MIXTAPE: Sideline’s Motivation Music

Posted on by Editor

When we sat down to put together this mixtape we realized that the best playlist to pull from had already been created by Steve Dilling, our banjo player. These are songs that we actively listen to on a weekly basis. The theme also became obvious, because it truly is why we listen to these songs — motivation.

Sideline has been an actively touring group for about six years. We had started out with only four to six shows a year. Now we’re up to 130 shows, meaning roughly 200 days away from home. Road life isn’t easy, especially when it’s that heavy. Being pulled away from home and family for that long. Traveling hundreds of miles day and night. It can be easy to get weary and drawn. When we want to get a glimpse at the reason why we do this, and why we really love it so much to go through it all, we pull out this playlist.

We could’ve had a weekend of tough crowds, or maybe tough income. We’ve had several breakdowns that have left us sitting there feeling as low as one can get. So we pull out this playlist. It’s the perfect combination of songs to not only pull you out of the ditch, but get you excited and ready to take whatever is in front of you. It motivates us and gives us something to strive for musically. We hope you get the same motivation from it as we do! — Skip Cherryholmes, Sideline

Ronnie Milsap – “Don’t You Ever Get Tired (Of Hurting Me)”

Ronnie Milsap knows how to make you feel every single word. The way he comes back in on the last chorus, and his ending tag line are especially significant. Unbridled emotion. Unbridled talent.

Lee Ann Womack – “Never Again, Again”

This song just hits you in the face right out of the gate. The lead and harmony vocals are so tight and emotional all at once. It’s so sad, and it has so much power behind it.

Ronnie Milsap – “Stranger Things Have Happened”

Another vocal gem. This song was recorded at a time when tuning and pitch fixing didn’t exist. The performance is passionate and flawless. Whether you pull from the lows or the highs of this song, it will not leave you wanting anything but just more of it.

The Doobie Brothers – “Long Train Running”

This song has so much drive and groove, accompanied by energetic harmonies. As a band that focuses heavily on rhythm, this song always gets the creative juices flowing.

Stevie Wonder – “Superstition”

This song is all groove. There is so much space between beats. At first glance you might feel like it’s nice and even, but then you realize that it pushes the whole way through. It can physically excite you with every turnaround.

The Bluegrass Album Band – “Blue Ridge Cabin Home”

There really isn’t a bad Bluegrass Album Band song, but this is one for the history books. J.D. Crowe and Tony Rice’s performance has set the standard for so many musicians. It is 100% bluegrass in its most natural form, and it is always just as exciting.

Kansas – “Carry on Wayward Son”

Vocals. Rhythm. Energy. Arrangement. Lead guitar work. This song has every bit of these elements to the max. It changes time signatures three times and changes grooves twice, all seamlessly. It hits the excitement nerve nonstop.

Journey – “Separate Ways (Worlds Apart)”

Steve Perry’s vocal is immaculate. The song has such a drive behind it. The intro is iconic, and catches your attention from the very first notes.

Nickel Creek – “Smoothie Song”

Chris Thile is one of the most brilliant players of our time. This song creates a blend of intricate performance and aggressive energy. The beat drives hard, as does Chris’ right hand on the bouzouki.

Sideline – “Crash Course in the Blues”

This song was fun to put together. We were looking for a song that we could jam to and have fun with. Steve came across this Steve Wariner tune one day and it was a perfect fit. It really gives everyone a chance to shine! We tracked it as live as possible to capture that fun energy.

Sideline – “Return to Windy Mountain”

There is nothing like a good story song and the life of Melvin Goins is a great story. This song has nods and elements to his classic sound, along with our own take on things. Finding the blend between the music and the lyrics is one of the best parts about recording and it made this song a blast to put together.

Sideline – “Thunder Dan”

When we put this song together we had no idea what it would do when it came out, let alone that it would win IBMA’s Song of the Year. It’s a catchy tune with a cool story. It was all about playing it to a mean groove and giving the lyrics the best background. People really took to it, singing along and requesting it everywhere.

Photo credit: Stephanie Cherryholmes

Artist of the Month: Anaïs Mitchell

Posted on by Editor

The world has finally caught up with Anaïs Mitchell. With sold-out runs in London and New York, near-constant critical acclaim, and a sweep of eight Tony Awards, the Vermont native was quite literally center stage last summer accepting the award for Best Original Musical for her creation Hadestown.

But Anaïs Mitchell has been center stage for a very long time — it’s the size and location of the venue and audience that has changed. With five solo records under her belt, a growing collection of collaborative projects ranging from a record of obscure English ballads (Child Ballads with Jefferson Hamer) to a new supergroup Bonny Light Horseman (with Eric D Johnson of Fruit Bats and guitarist Josh Kaufman), and the decade-long evolution of her now-famous folk opera Hadestown, Mitchell is profound not only in her turnout, but in the indisputable quality and beauty of everything she touches.

That’s why we’re excited to present her as BGS‘ first Artist of the Month for 2020. Throughout the month, we’ll be digging deeper into her career with an exclusive interview feature by Stephen Deusner. After all she’s accomplished in the last decade alone, we can’t wait to see what’s next for her in the one to come. For now, enjoy our Essentials playlist and prepare yourself for the Month of Anaïs Mitchell.

Photo credit: Shervin Lainez

LISTEN: Thunder and Rain, “Two Ships”

Posted on by Editor

Artist: Thunder and Rain
Hometown: Golden, Colorado
Song: “Two Ships”
Album: Passing in the Night
Release Date: January 3, 2020

In Their Words: “I wrote a poem based off the old saying ‘two ships passing in the night.’ It seemed to perfectly sum up a fragile but fun relationship I was in at the time. When we started arranging it as a band, we cranked up the speed and started passing speedy licks between the dobro and mandolin. Being one of the grassiest songs on our record, we had our engineer, Aaron Youngberg, rip some banjo on it. This song sets the tone of the record, describing the moments in relationships that are meaningful but don’t last very long.” — Erinn Peet Lukes, Thunder and Rain

Photo credit: Scott McCormick, McCormick Photos and Design

Best of: Friends & Neighbors 2019

Posted on by Justin Hiltner

At BGS HQ one of our favorite, most-used phrases is “the BGS family.” Roots music is all about community, the people who coalesce around these genres and the spaces they inhabit being just as integral as the actual music-making itself. We always enjoy turning the spotlight on these communities, and one of the ways we do this best is by celebrating and lifting up the folks who’ve always been part of our BGS family, while constantly being on the prowl for new faces and stories to bring into the fold.

This year one of the most tangible representations of our BGS family through our content and coverage was our Friends & Neighbors column, simple features of must-see videos by artists, songwriters, and musicians we consider family (and friends and neighbors!) Y’all were on board. So many of our F&N posts were our most-popular, most-engaged with, and most-enjoyed music of the year! Thank you for being another essential part of our BGS family and for seeing what we’re trying to accomplish here and making that happen. Enjoy our best of Friends & Neighbors from 2019.

Boyz II Men and Steep Canyon Rangers, “Be Still Moses”

Boyz to bluegrass?! You read that right. R&B legends and vocal virtuosos Boyz II Men collaborated with North Carolina’s Steep Canyon Rangers for this stunning reproduction of the bluegrass group’s 2007 song,“Be Still Moses.” During a Boyz II Men performance at Nashville’s Schermerhorn Symphony Center, twelve members of the Asheville Symphony joined the Rangers for this video, capturing what may very well be a once-in-a-lifetime performance of the song.

Rhiannon Giddens, Tiny Desk Concert

Former Carolina Chocolate Drops leader and old-time music maven Rhiannon Giddens has the uncanny ability to sing through an audience. In May, she released her third full-length, studio album, there is no Other, with Nonesuch Records. In this new chapter, Giddens collaborated with Italian multi-instrumentalist Francesco Turrisi, who is known for his virtuosity on percussion and jazz piano. Giddens, Turrisi, and bassist Jason Sypher stopped by NPR to perform some music from the latest record; watch as they stun the audience huddled around the Tiny Desk.

The Highwomen, “Redesigning Women”

Four world-class artists, one incredible supergroup — what’s not to love? The Highwomen have been taking the world by storm as they bring together some of country and Americana’s finest singers and songwriters. It’s no wonder their album has made many a year-end “best of” list — including our Top Moments of 2019.

Tanya Tucker, Brandi Carlile, and Tenille Townes, “Delta Dawn”

Three generations of country music come together in one performance: Tenille Townes, a newbie on the country block; Brandi Carlile, a soon-to-be modern legend at the peak of her career; and Tanya Tucker, a legendary performer whose album, While I’m Livin’, was one of our favorites of the year. Together, the trio performs “Delta Dawn,” one of Tucker’s signature songs.

Molly Tuttle, “Take the Journey”

It’s been a huge year for Molly Tuttle. She’s blazed a trail through modern bluegrass, become one of the most prominent pickers around, and now she’s taking on roots music realms further and further from the string band territory in which she grew up. Feel the rhythm and energy in Tuttle’s national television debut performance  of “Take the Journey,” our most popular Friends & Neighbors post of the year!

Photo of Molly Tuttle courtesy of Compass Records
Photo of Tanya Tucker, Brandi Carlile, and Tenille Townes courtesy of Cracker Barrel

Bill Keith, “Auld Lang Syne”

Posted on by Justin Hiltner

Before we turn out the light on 2019 — and the 2010s — let’s celebrate one last Tunesday Tuesday. This column began in 2018 as our instrumental answer to our now-dormant Song of the Week feature, with an understanding that roots music (especially bluegrass, old-time, and country) wouldn’t exist without virtuosic pickers, and that most outlets, by nature being centered on more commercial forms of music, tend to overlook the incredible offerings of instrumentalists.

As we look ahead to more tunes, more breakdowns and waltzes and jigs and polkas, in 2020, it’s a fitting time to visit “Auld Lang Syne” as recorded by Bluegrass Hall of Famer and banjoist extraordinaire Bill Keith in 1976 on Something Auld, Something Newgrass, Something Borrowed, Something Bluegrass. (Please, on behalf of the tenor of this column, ignore the sung verse by Jim Rooney — or simply treat it as a once-hollered refrain line in an old-time tune that doesn’t negate the tuney-ness of it all. Everybody good?)

Joined by Tony Rice, David Grisman, Vassar Clements, and Tom Gray, this version of the truly ubiquitous, ingrained melody begins with a jazzy, ragtime flair, circa the late 1800s and banjo’s golden age. Then, as most bluegrass covers of non-bluegrass tunes go, it kicks into time with the chord progression massaged towards diatonic simplicity and the tempo dialed into ideal banjo range. Keith utilizes his namesake tuners and signature melodic style to capture the song in a way that oozes traditional bluegrass, but is still fresh and innovative — even forty plus years on. It’s a perfect banjo-y, bluegrassy way to bring in a new year and say goodbye to the old, too.

Happy 2020!

Best of: Live at Ear Trumpet Labs

Posted on by Justin Hiltner

Since 2011 Portland, Oregon-based Ear Trumpet Labs has been blessing the music world with their finely crafted microphones, with their clean, natural sound and designs reminiscent of the styles of the 1930s and 40s. And for the past three years, they’ve been gifting us listeners with beautiful examples of their high quality equipment through their Workshop Sessions, pairing exquisite videography with master musicianship. We’re looking back at some of our favorites from 2019 as we move into the new year, when BGS + ETL will be partnering to bring you more content live at Ear Trumpet Labs!

Jerry Douglas & Tommy Emmanuel – “Choctaw Hayride”

We’re not alone in our love for this session: it was one of our BGS readers’ favorite stories of the year. But really how could it not be? It doesn’t get much better than two masters of their crafts getting together in a workshop and just letting it rip.

Both are using Edwina microphones, and there’s also a stereo pair of Delphinas as room mics.

The Local Honeys – “The Redhead Yodel no. 1 [Mainliner]”

In their unfortunately rare ode to the female traveller amidst a plethora of hobo songs in American folk music, the Local Honeys bring us what they call “a lovey-dovey, yodelly-wodelly one.” Is there anything better than a yodelly-wodelly love song from the perspective of a female hobo? No. Is there anything better than the Local Honeys? No.

Anthony D’Amato – “Party’s Over”

Anyone else still recovering from all those holiday parties?

Anna Tivel – “Minneapolis”

Once the holiday cheer has passed, this time of year can be heavy. Tivel tells BGS this song is about “that stagnant winter sadness that can take over everything until you have to physically move yourself to shake it loose.” This stirring string arrangement may envelop you in those depths of winter, but it just might give you the hope to get yourself un-stuck.

Rachel Sermanni – “Farewell, Farewell”

Scottish folk musician Sermanni’s gentle delivery and sparse accompaniment of this Richard Thompson tune draws out the influence of the British folk ballad even more than the original Fairport Convention release in the late ‘60s. We dare you to not be completely drawn in by this breathtaking rendition.

Jefferson Hamer – “Alameda”

Hamer’s 2018 release Alameda is a collection of “road stories,” its stunning title track a tale of a traveling worker and a lost love.

The Brother Brothers – “Angel Island”

Adam and David Moss’s arrangement of this devastating Peter Rowan-penned story of a Chinese immigrant couple separated and detained at San Francisco’s Angel Island, a regrettably common occurrence during the years of the immigration station’s operation from 1910-1940, is almost unbearably haunting, and for good reason. This is a story that we as a culture shouldn’t soon forget.

Claire Hitchins – Emma

Aside from the beautiful lyrics painting the picture of our leading lady, and the easy, light vocal delivery, the look of pure peace on Hitchins’ face might just be the cherry on top of this session. “We’ll rise with love, my love, I believe we are worthy.”

Greg Blake – “Say Won’t You Be Mine”

Greg Blake brings some bluegrass from Colorado to the Ear Trumpet Labs with this Stanley Brothers classic.

The Lasses & Kathryn Claire – “Here Now”

Amsterdam folk duo The Lasses team up with Portland singer-songwriter Kathryn Claire to create this captivating session featuring violin, guitar, bodhrán, and trio vocals that could warm any lonely heart this cold winter.

 

Pet Yeti Bring Bluegrass (And a Michael Bolton Ballad) Into UK Music Scene

Posted on by Editor

Pet Yeti is a UK-based bluegrass band made up of some of England and Northern Ireland’s finest pickers. Their debut album, Space Guitars, is a collection of original tunes and reimagined takes on classics like Michael Bolton’s “Said I Loved You…But I Lied” and Ola Belle Reed’s “I’ve Endured.”

The band includes Benjamin Agnew on bass, Reuben Agnew on guitar, John Breese on banjo, Kieran Towers on fiddle, and Joe Tozer on mandolin. In an email interview with we learned more about the group, what they hoped to achieve with this album, and where they’re headed.

BGS: Was there anything particularly memorable or special about making this album? What was the experience like?

Pet Yeti: The most memorable thing about recording this album was probably recording the Michael Bolton cover “Said I Loved You…But I Lied.” The decision to record that track was very last minute but everyone jumped into it with enthusiasm. Seeing it come together was surprising because we had not really known what a bluegrass cover of such a track would sound like. The result had us really satisfied, such to an extent that I think it suits the album nicely and we would really miss it if it was not included.

It was also a real privilege to record with Josh Clark of Get Real Audio. Not only as a friend of ours but also because he brings a finesse and professional ear for bluegrass music that is hard to find, even with comparisons to great recording engineers from the US. He also took a lead production role in the making of the album, which by itself would usually be big undertaking, so that we can say the album really has been shaped by him.

What was your goal with this album, musically speaking?

The original goal of the album was to be a voice for what Pet Yeti could do to authenticate ourselves in the bluegrass scene. However, it turned into a representation of all the band members’ individual tastes and interpretations. It is not often that a song like “Space Guitars,” based on the story of Doc from the Back to the Future movies, is on the same album as Michael Bolton covers and old-time music! I think the goal became the enjoyment of playing music and trying to put that across in every track that we could.

Do the five of you come from differing musical backgrounds? If so, how do you think those differences influence the overall sound of Pet Yeti?

Every band member in Pet Yeti comes with an appreciation of bluegrass music and we have all been followers of bluegrass growing up, though we all have our own genres that we enjoy delving into — whether that be the likes of old-time to Oasis to gypsy swing. I think it’s a really healthy mix to have a core interest but also to bring in the diverseness of individual interests because it means everyone in the band has a voice, even if we are not all singing. I think it’s this mix that separates Pet Yeti from a lot of other bluegrass ensembles.

You cover a lot of ground with this album, from carefully crafted gems like “I’m Turning Away” to high energy barn-burners like “Drinking Since the Day I Was Born.” Has that wide array of sounds added a new dynamic to your live shows?

While I do think the dynamic of Pet Yeti set list shows off the diverseness in our musical ability, a big aim of the set is that the audience enjoys the music. Not only with the energetic numbers, but also with lighthearted back stories of the originals.

Did you have a plan or idea of how this album should come together, or did it come together more organically while recording?

The album really is a product of a very organic process. We came together shortly before recording and developed how all of us would like the album to be recorded. However, a lot of the best parts of the album came during recording and because of the input of our excellent sound engineer. I think you need to allow this sort of organic process to keep things fresh.

You all have experience playing in other musical projects (Cup O’ Joe, Cardboard Fox, Kieran Towers & Charlotte Carrivick, etc.). What are some ways Pet Yeti is unique and different from your other projects?

Elaborating on an earlier question, Pet Yeti gives everything that you would expect from our other musical projects but with a lot more of each band members’ individual personalities and experience. Not one member of Pet Yeti is the “front man”, which is clearly seen in the album, giving each track in Space Guitars some other member the spotlight. Every band needs teamwork but Pet Yeti really relies on each member to create the overall sound of the band.

How has this album challenged you to grow as musicians?

The album has given us the opportunity firstly, as friends, to develop a unique sound together and have fun doing it. It also let us enjoy recording on a level that’s not as stressful and serious as other projects while maintaining musical integrity and making production enjoyable. Perhaps one challenge we have gone away with is how to put that enjoyment into all the music we produce and play from now on.

If you could perform this album at any venue, where would it be? Why?

While playing at any bluegrass festival in the UK, the US, or otherwise would be a privilege, the possibility to play as part the wider Glastonbury Festival would be a great opportunity and more ideal space for our unique flavour of bluegrass.

WATCH: Scott Mulvahill, “Say I Love You”

Posted on by Editor

Artist: Scott Mulvahill
Hometown: Nashville, Tennessee
Song: “Say I Love You” (Single)
Label: Soundly Music/West Sterling

In Their Words: “‘You don’t trust anyone, got a mouth like a loaded gun’ is one of my favorite first lines that I’ve ever written. And to me, ‘Say I Love You’ is all about the lyric — it’s about our ability to love and choose each other even though we’re so flawed. I came up with a draft of this song and then finished it in stages with Ben Shive and Beth Nielsen Chapman, and they really made it deeper and ring more true. To let the words come through, I kept this arrangement simple — it’s just my voice, my guitar, and a beautiful string arrangement by Maestro Lightford.” — Scott Mulvahill

Photo Credit: Lindsey Patkos