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.
Double-, triple-, quadruple-threats are not uncommon in country music, not in the least. It’s a frequent occurrence, tripping over or into a country artist that’s a songwriter, vocalist, multi-instrumentalist, writer, thinker, and so much more. In fact, until more recent decades, wearing many hats was seen as a sort of prerequisite to making hillbilly music. After all, this is “just” country music, it’s got a wide and deep DIY tradition, and the folks who make it often have to also load in the gear, sell the merch, post on social media, and produce the albums, play the demos and scratch tracks, write the lyrics, and otherwise steer the creative ship.
Some of the most successful artists and most original voices in country music are perfect examples of how multifaceted skill sets translate directly to star power. You may not need to be a Telecaster shredder to make it onto the radio or you may not need to be able to pick like Mother Maybelle to make a living, but if you can back up your songs with mighty playing, it certainly translates with audiences.
From Chet Atkins, Dolly Parton, and Wanda Jackson to Charlie Daniels, Willie Nelson, and Bonnie Raitt, here are just a few legendary examples of hugely successful country artists who are or were excellent musicians and instrumentalists, too.
Chet Atkins
A record company executive, producer, and pioneer of the “Nashville Sound,” Chet Atkins was also a one-of-a-kind guitar picker, renowned across the globe for his unique style – which was inspired by Merle Travis. Atkins certainly made “Travis picking” his own, arguably eclipsing all of his predecessors and continuing to influence guitarists today. An inductee of the Country Music, Rock and Roll, and Musicians’ Halls of Fame, Atkins’ impact is hard to understate and his resume includes work with Dolly Parton, Elvis Presley, Hank Snow, Waylon Jennings, and countless others.
DeFord Bailey
One of the first superstars of the Grand Ole Opry, DeFord Bailey was a world-class harmonica player who was also the first Black performer on WSM’s fabled stage. Some sources also credit Bailey as being the first musician to record music in Nashville. However you approach his career and music, Bailey was a seismic presence in the earliest days of country. Born in 1899, Bailey faced constant racism, bigotry, and marginalization on the Opry, in Nashville, and as he traveled and performed. He passed away in 1982 and was posthumously inducted into the Country Music Hall of Fame in 2005.
Glen Campbell
Even at the highest heights of Glen Campbell’s superstardom, he refused to let his superlative instrumental skill take a backseat to his roles as frontman, songwriter, Hollywood actor, TV star, and tabloid veteran. Campbell’s approach to country music as a true multi-hyphenate celebrity bridged generations, connecting the hardscrabble, DIY generations where multiple skills were necessary to make a living to the modern era, where he helped pave a way for famously multi-talented picker/singer/writers like Vince Gill and Brad Paisley to not be pigeonholed as one thing or the other.
Ray Charles
Any conversation around or collection of superlative country pickers and musicians would be glaringly incomplete without the inclusion of Ray Charles. His incursions and experimentations in country music are many and infamous. His 1962 album, Modern Sounds in Country and Western Music is routinely listed as one of the best country albums of all time. He’s worked with and performed with Willie Nelson, Merle Haggard, Ricky Skaggs, Travis Tritt, Johnny Cash, Glen Campbell, and many, many more. Plus, his country forays demonstrate a deep, holistic understanding of the genre. Charles is a quintessential country multi-hyphenate and country-soul in the modern era would feel especially lacking without his seminal contributions to that tradition.
Charlie Daniels
It’s hard not to wonder what young, hippie, “long-haired,” Vietnam War-opposing fiddler Charlie Daniels would have thought of his older self, and his more harebrained and often hateful beliefs later in life. But the controversial and outspoken musician, at all points of his career, was a picker’s picker. Over the course of his life he performed and recorded with Earl Scruggs, Bob Dylan, Leonard Cohen, and many more. But his chief contribution to American roots music may just be his fiery, unhinged fiddling on “The Devil Went Down to Georgia.” Just wander down Lower Broadway in Nashville on any given Saturday night to feel the impact of that particular show-stopper. In this clip, he chats and performs “Uncle Pen” with Scruggs and Del McCoury.
Vince Gill
That buttery voice, that stank-face inducing chicken pickin’, that high, lonesome sound – Vince Gill is all at once country and bluegrass, Nashville and Oklahoma, western swing and old-time fiddle. Whether with The Eagles, preeminent pedal steel guitarist Paul Franklin, the Time Jumpers, or so many other outfits, bands, and iterations, Gill is simply right at home. Because, at his core, he’s just a picker. He may play arenas, but he knows he belongs at 3rd & Lindsley or the Station Inn. Or Bluegrass Nights at the Ryman. A quintessential picker-singer-frontman, Gill continues to define the myriad ways country stars can maintain their selfhood and personality – instrumentally and otherwise – even in their wild successes.
Merle Haggard
Speaking of chicken pickin’, country’s most famous Okie was a shredder, too. A sad song, a glass of (misery and) gin, a Telecaster, and the Hag – that’s all we need, right there. Merle’s playing style, even at its most technical and impressive, was simple and down to earth. You could tell he cut his teeth playing bars, fairs, and honky tonks. You could almost hear him pulling himself up by his bootstraps as he played.
Wanda Jackson
The Queen of Rockabilly has been slaying rock and roll, hillbilly music, and the guitar for more than seventy years. In 2021 she released her final album, Encore, when she was 84 years old. It features her signature passion and fire – and performances by Elle King, Joan Jett, Angaleena Presley, and more. Jackson has been representing the vital contributions of women to rockabilly and rock and roll for her entire career, just as often commanding the stage with her growly, entrancing voice and her powerful right hand.
Willie Nelson
Who would Willie Nelson be without Trigger? Without a tasty, less-is-more, nylon-string guitar solo? For decades, Nashville, Music Row, and guitar players around the world have been emulating his particular sound as a guitarist – whether they know it or not. Sure, he’s a hit songwriter, a star and front-person, a collaborator of Snoop Dogg and Frank Sinatra, and a connoisseur of fine bud, but perhaps more than all of these accomplishments, Willie is an impeccable picker. He can hold his own with the best of the best, because he is the best of the best.
Brad Paisley
Brad Paisley’s fame crested at perhaps the perfect time for him in country music, combining a rip-roarin’ guitar playing style with a sound that was entirely trad while carrying touches of the bro country wave that was about to inundate the genre. As such, he was able to build a career on the diversity of his skill set, before Music Row and the power behind it began prioritizing music that didn’t need to be musical and voices that didn’t need to be singular. Luckily, Paisley is both those things and more, and despite the many eyebrow raising moments across his career, our faces more often show shock at his mind-bending skill as a guitarist than anything else.
Dolly Parton
How is it that Dolly Parton can play so many instruments so impeccably with those iconic acrylic nails!? Nowadays, you are just as likely to hear Dolly performing to a track – yes, she does lip sync and pantomime playing along with recordings – but don’t get it twisted, she absolutely can play a passel of instruments from her beloved “mountain music” traditions. She plays guitar, banjo, auto-harp, dulcimer, and has even been known to pick up a bedazzled saxophone from time to time – though we can’t guarantee she actually knows how to play that one, we’re still blown away.
And what about thatone viral video with Patti LaBellewhere they play their acrylics like washboards? Dolly can make music with just about any instrument.
Bonnie Raitt
How many people do you think enjoy Bonnie Raitt’s soulful blues and Southern rock sounds without knowing she’s also often the one playing the guitar solos and making that bottleneck slide weep? Raitt is a Grammy winning songwriter, a fantastic vocalist and song interpreter/collector, and – above all, in this writer’s opinion – a superb guitar picker, especially playing slide. She can hold her own with just about anyone, and she has. Her phrasing and use of melodic space demonstrates that she’s been honing her craft for her entire life. That taste can’t be taught, it has to be found. Boy, has she found it.
Marty Stuart
Marty Stuart’s long, fabulous, superlative career began with him filling the role of sideman for such luminaries as Lester Flatt, Johnny Cash, Vassar Clements, and Doc Watson. He plays guitar and mandolin, working up his chops as a youngster with pickers like Roland White as his mentors. When his solo career took off after his Columbia debut in the mid-eighties, his ear for fine picking remained present throughout his music – however far afield from those early bluegrass and country days he may have traveled, stylistically. Whether bringing in psychedelic surf sounds or Indigenous flavors of the American West, Stuart’s catalog of music centers virtuosity that’s never gratuitous. And his band, the Fabulous Superlatives, featuring crack guitarist Kenny Vaughan and multi-instrumentalist Chris Scruggs, represent a high level of picking prowess, too.
Tedeschi Trucks Band
By many measures, Derek Trucks is the world’s foremost living slide guitarist, but don’t overlook powerhouse vocalist and co-band leader, Susan Tedeschi in order to venerate Trucks! Both started playing as youngsters – Trucks when he was a kid and Tedeschi when she attended Berklee College of Music. These two are guitar and blues royalty, helming one of the most impactful modern blues and Southern rock orchestras on the planet. They’re consummate musicians, knowing just how to surround themselves by players who support and challenge, both. Even with their laundry list of personal accomplishments, together, Tedeschi & Trucks – who are also married – are so much greater than the sum of their parts.
Keith Urban
Keith Urban brings a scruffy, down to earth guitar playing style to his polished and glam mainstream country sound. Yes, even as far away as Australia, having instrumental chops means having country currency. When he moved to Nashville in the early ‘90s, with a few Australian radio hits and awards under his belt, he immediately found work as a side musician and co-writer in Music City. It wasn’t long until his star ascended stateside, too – and then, as quickly, around the world – bolstered by arena-ready guitar. Now readying his first album since 2020, Urban shows no signs of slowing down, with the music or the picking!
Artist:The Delevantes Hometown: Rutherford, NJ… then Hoboken, NJ… and now Nashville Latest Album:A Thousand Turns Rejected band names: “The band was originally named Who’s Your Daddy. The name came from the Zombies song, ‘Time of the Season.’ The lyric reads: ‘What’s your name? Who’s your daddy?’ but very few people ever got it. In fact I think maybe one person did. And it eventually made a list of top ten bad band names. Eventually Mike and I decided to go with our last name. It was easy and simple (for us) to remember. But it’s hard to count how many times it was misspelled in ads or on marquees. One of our faves was ‘The Deldinkos’! Probably should’ve gone with that.” — Bob
What was the first moment that you knew you wanted to be a musician?
I had played guitar since I was about 4 years old and I enjoyed it. Our family was very musical. But I don’t think I understood its full potential until I was a teenager and got together with friends and played as a group. Even just in casual circles. That’s when I saw what it can do and how it can bring people together. Our music began in friendships and it grew out from there. — Mike
In high school after lunch my friend Matt and I would pull out our acoustic guitars and play some songs in the auditorium. A little Simon & Garfunkel, Jackson Browne, or maybe something from Will the Circle Be Unbroken. As we played some of the football players’ girlfriends came over and sat down to listen. We realized guitars and harmonies, not helmets and shoulder pads, was the way to go for us. — Bob
Which artist has influenced you the most… and how?
There are so many, but I would probably choose Bob Dylan. Lyrics, folk music, rock ‘n’ roll — there are so many layers and I love that. And he just turned 80 and has released what I think as some of his best work! – Bob
Probably the Beatles. The combination of both amazing lyrics and some of the most incredible melodic lines. I don’t think anyone has come close. — Mike
What’s your favorite memory from being on stage?
Being asked the day of the show to back up Levon Helm at the Rock and Roll Hall of Fame show in Cleveland. Rehearsing for about an hour that day and performing “Rag Mama Rag” and “Atlantic City.” — Mike
There are quite a few but two really stick in my mind: The first, we were playing an outdoor festival in Holland and it started to rain. There was large crowd on the hillside. I think the attendance was around 10,000 people and when it started to drizzle all these different colored umbrellas opened up. It looked like a field blooming. The second is the first time we opened up for John Prine and he asked us to sing on the encore, “Paradise.” Won’t forget that one. — Bob
Since food and music go so well together, what is your dream pairing of a meal and a musician?
Sitting down for a dinner of baked ziti and a beer with Frank Sinatra at Ricco’s in Hoboken, NJ, around 1941, just as his career was taking off. — Bob
Hearing the E Street Band play on the boardwalk in Asbury Park with a slice of NJ pizza. — Mike
What other art forms — literature, film, dance, painting, etc. — inform your music?
I’m a designer, photographer, and illustrator as well as a songwriter. All these different disciplines feed each other. They’re all ways of telling stories and I work in all of them. My favorites are probably looking at other artists’ photographs and watching films. They probably affect me the most and inspire my work. — Bob
Going to art school in NYC opened my eyes to how a particular time and place with different art forms can be combined to create a story. The act of creating art alongside other artists — and being fully immersed in galleries and seeing bands in clubs at a certain time — created a story in my head that I can still see. A film with a soundtrack. That time inspires me to find similar moments in how you can imagine a song or say a painting can take on meaning for other people. Part of it is freeing in a way… you don’t have to control every aspect because they will put their story into your art and make it their own. — Mike
Artist:Matthew Fowler Hometown: Orlando, Florida Latest album:The Grief We Gave Our Mother (September 10, 2021) Rejected Band Names: Fatts Mowler. Although, I honestly still kinda love it.
Which artist has influenced you the most … and how?
Glen Hansard, for sure. I started listening to his music when I was 14, learning how to play guitar, and just getting into songwriting. A period of branching out from the music of my childhood, and into stuff I discovered for myself. I was a huge fan of The Beatles, Bob Dylan, and lots of great classic artists, but Hansard was the first contemporary songwriter that really took hold of me. He’s an extremely dynamic and passionate performer. Super vulnerable and personable with the audience, too. I saw a ton of songwriters play the “dark and mysterious” role well, but he was bold and authentic. He’s just an inspiring dude.
What’s your favorite memory from being on stage?
There’s an awesome club in Orlando called The Social where I first started going to see smaller shows. I loved that room — 300-something cap, close quarters, and a great view of the stage from all angles. I played a headlining set there for my birthday with a six- or seven-piece band (which was crazy) and actually turned 20 while onstage. The turnout was fantastic, everyone sang “Happy Birthday” for me, my mom called me during the set (they were out of town), and I had the distinct honor of graduating out of my teenage years doing something that was important to me in a place where I first fell in love with live music. It’s a happy memory that I’m grateful for.
What other art forms — literature, film, dance, painting, etc. — inform your music?
I’m a big fan of movies. They’re awesome for gaining insight into different facets of life, especially at an age when you can’t always go and experience those things firsthand. Growing up, that was one of my BIG windows into the world. I’ve since done my own videographer work and grown to love it as another creative thing to do. I’m pretty big on making collages too — I like how it celebrates fusing seemingly different elements together to make something more wholly interesting. I think any creative endeavor strengthens ones creativity as a whole. It ALL informs the music.
What rituals do you have, either in the studio or before a show?
I usually don’t write a set list out (if at all) until the absolute last possible second. The vibe of every room and situation is truly different, which is one of my favorite things about touring. A lot of times, if I’m playing solo, I’ll just write out a long list of possible songs and pick whatever I feel in the moment. It’s an exhilarating feeling to be off-the-cuff in a show setting. It makes the night feel more natural.
How often do you hide behind a character in a song or use “you” when it’s actually “me”?
I usually never hide behind a character in a song. I mostly write from my own specific point of view — I find I’m able to feel more authentic in voice and emotion when I put myself in the “hot seat” of the song. That being said, I’ve always been intrigued by songwriters who can weave a story and put themselves completely out of it. I hope to grow as a writer with each album I make, and maybe that’s my move for the next one.
2020 was a year of many things – COVID-19, existential elections, the shuttering of the music industry, and on and on – but one common, non-catastrophic throughline of the musical variety was cover songs. Many musicians and artists, finding themselves with more free time than usual and more standard-fare albums and cross-continental tours back-burnered, took the opportunity to explore live records, collaborations, and yes, covers. From Molly Tuttle to Wynonna, livestreams to socially-distanced shows, covers became an unofficial pandemic pastime.
Now, in 2021, many of these cover projects conceived and created in 2020 have made it to store shelves – digital and otherwise – and we’ve collected ten tributes worth a listen:
Shannon McNally covers Waylon Jennings
It’s fitting that Shannon McNally released The Waylon Sessions on Compass Records, whose headquarters now occupies “Hillbilly Central.” As Tompall Glaser’s former studio, the building helped give rise to country’s outlaw movement and it’s where Waylon himself recorded. With guests like Jessi Colter, Buddy Miller, Rodney Crowell, and Lukas Nelson, the project recontextualizes Waylon Jennings’ material, which is usually associated with hyper-masculine wings of the country scene. As McNally puts it in a press release, “What Waylon Jennings brought to country music is what country music needs right now, and that unapologetic and vulnerable sense of self are what women are tapping into artistically right now as the industry evolves.”
Steve Earle covers Justin Townes Earle
Many a musical child has covered their parents’ catalogs in retrospect, but it’s rare that we see the reverse. A gorgeous, gutting, and laid-bare album, Steve Earle’s J.T. is a ten-song tribute to his son, Justin Townes Earle, who passed away suddenly in August 2020, shocking the Americana and folk communities. Earle’s signature emotion bristles and crackles throughout the project, giving Justin Townes’ songs an even stronger quality of visceral electricity. Proceeds from the album will go to a trust for Etta St. James Earle, Justin Townes’ daughter and Steve’s granddaughter.
The Infamous Stringdusters cover Bill Monroe
Spread out from North Carolina to Colorado and beyond, the Infamous Stringdusters utilized home recording from their respective studios during the pandemic to accomplish musical creativity their jam-packed schedule hadn’t really allowed in the “before times.” Their brand new EP, A Tribute to Bill Monroe, returns the virtuosic jamgrass outfit to territory familiar to those who first found the group when they were cutting their teeth, striding out from traditional bluegrass into the vast, expansive newgrass-and-jamgrass unknown. The project illustrates that the true strength of this ensemble is found in utilizing traditional bluegrass aesthetics for their own creative purposes. For example, you might listen through the entire record without realizing the Stringdusters made a Bill Monroe tribute album without mandolin!
Mandy Barnett covers Billie Holiday
Mandy Barnett is a cross-genre chameleon; between her talent, her voice’s timeless Americana tinge, and her appetite for classics — from Nashville staples to the American songbook — she often finds herself reaching far beyond Music Row and classic country to R&B, standards, and in her most recent release, Billie Holiday covers. Every Star Above was recorded in 2019, pre-pandemic, and includes ten songs from Holiday’s 1958 Lady in Satin album – songs previously also covered by Frank Sinatra, Dinah Washington, and many, many others. The project feels akin to Linda Ronstadt’s pop and big band forays, never fully detached from Barnett’s country roots, but built atop their solid foundation. In another Ronstadt-esque move, Barnett partnered with recently departed jazz arranger Sammy Nestico; Every Star Above was the award-winning composer’s final project.
Charley Crockett covers James Hand
Country-western crooner Charley Crockett is truly prolific, having released nine full-length albums in the past six years. As the story goes, before his friend, acclaimed Texan singer-songwriter James “Slim” Hand passed away unexpectedly about a year ago, Crockett promised he would record his songs. “Lesson in Depression” captures the sly, winking quality of the best sort of sad-ass country, which isn’t burdened by its own melodrama. While it’s certain Crockett (as Tanya Tucker would put it) would have rather brought Slim his flowers while he was living, there’s a poignancy in how 10 For Slim – Charley Crockett Sings James Hand, like Earle’s J.T., immediately demonstrates how these impactful musical legacies will live on.
Lowland Hum cover Peter Gabriel
Lowland Hum’s album covering Peter Gabriel’s So — which they’ve cutely and aptly entitled So Low — began as a passing joke, but the folk duo of husband-and-wife Daniel and Lauren Goans followed the passion and fun that led them to Gabriel’s hit 1986 release, quickly unspooling the passing whim into inspiration for a full-blown project. “We already loved the iconic record, but in translating Gabriel’s melodies and otherworldly arrangements,” they explain on their website, “we fell even deeper in love with the songs, Gabriel’s voice, and his uncanny ability to fully inhabit both vulnerability and playfulness…” Their “quiet music,” minimalist approach is well suited to the material and the entire project is incredibly listenable, comforting, and subtly envelope-pushing.
Chrissie Hynde covers Bob Dylan
After The Bard released “Murder Most Foul” and “I Contain Multitudes” early in 2020 (and in the pandemic) founder, singer, songwriter, and guitarist for The Pretenders Chrissie Hynde was inspired to once again revisit Dylan’s catalog – a limitless fount of material with which she was already intimately familiar. Her new album, Standing in the Doorway, features nine Dylan tracks recorded with fellow Pretenders guitarist James Walbourne – almost exclusively via text message – and for their coronavirus YouTube video series. Hynde opts for deeper cuts, showcasing her affinity for swaths of Dylan’s career often overlooked by other would-be cover-ers. This classic, “Tomorrow is a Long Time,” feels appropriately sentimental and longing, a perfect encapsulation of the day-to-day of the realities of the pandemic, filtered through a Bob Dylan lens and Hynde’s distinctive voice.
Various Artists cover John Lilly
John Lilly is a songwriter’s songwriter. Based in West Virginia, his original music has been covered by modern legends like Tim O’Brien, Kathy Mattea, and Tom Paxton. April In Your Eyes: A Tribute to the Songs of John Lilly gathers various artists from the folk, old-time, and bluegrass communities – in West Virginia and otherwise – spotlighting the incredible depth and breadth of Lilly’s catalog. The title track is stunningly rendered by Maya de Vitry and Ethan Jodziewicz, who were connected with Lilly originally through West Virginia’s iconic old-time pickers’ gathering affectionately referred to as “Clifftop.” Paxton, O’Brien, and Mattea all make appearances on the project, as do Brennen Leigh & Noel McKay, Bill Kirchen, and many other members of Lilly’s musical family and inner circle, giving the project an intentional and intimate resonance.
American Aquarium cover ’90s Country Hits
BJ Barham’s American Aquarium dropped a surprise album, Slappers, Bangers, & Certified Twangers: Volume One in May. Featuring ten covers of some of the band’s favorite ‘90s country hits, it’s a dose of all-star-tribute-concert packaged in a pandemic-friendly stay-at-home-form – and available on John Deere Green vinyl, of course. One particularly sad casualty of the coronavirus pandemic has been these sorts of musical nostalgia bombs – when was the last time any of us attended a theme night or tribute show at say, the Basement East in Nashville or Raleigh, NC’s The Brewery? – and Slappers, Bangers, & Certified Twangers has us in the mood to attend the first ‘90s country covers live show possible now that things are finally reopening.
Various Artists cover John Prine
A year without Prine seems far, far too long to travel with such a Prine-shaped hole in our musical hearts. But his presence and legacy certainly still loom large; the Prine family has announced “You Got Gold: Celebrating the Life & Songs of John Prine,” a series of special concerts and events held across various venues in Nashville in October. Oh Boy Records is also planning to release a new tribute record, Broken Hearts and Dirty Windows: Songs of John Prine, Vol. 2, to coincide with You Got Gold. The first two tracks from the project that have already been unveiled feature Sturgill Simpson performing “Paradise” and Brandi Carlile’s rendition of “I Remember Everything,” which you can hear above. Each month until October, the Prine family and Oh Boy will release another song from the project, unveiling special guests who each pay tribute to Prine, his songs, and the enormous vacuum his loss has left in the roots music industry.
We’ve put together a group of songs that feel related to dusk: the transition moments between day and night. Included in our thinking about dusk are the days in between each season.. winter to spring, spring to summer, summer to fall and fall to winter days. We all need help in our times of transition, as we are being stretched, strained, or pressed between what was and what is to come. The songs that assist us in these travels seem to have an unplaceable quality, both disorienting and comforting like a sweet, warm drink with salt scattered on its surface.
The unique combination of anticipation and farewell allows these songs to occupy paradoxical thematic and sonic space. We need songs like these so we can bring more of ourselves into the present. So, we humbly offer this grouping of songs to accompany you in transitions of all kinds, whether they be literal dusks, the days between seasons, or simply moments where this particular tone may be soothing, cathartic, comforting or augmenting. To paraphrase something we read on The Milk Carton Kids’ Mixtape… “we include our songs aspirationally and for self-promotion here.” — Lowland Hum
Aldous Harding – “Zoo Eyes”
We love Aldous Harding’s ability to shapeshift, morph, and play in her music while remaining vulnerable and human. It reminds us that those are all options we can choose as well when creating. Her most recent album, Designer, is delicious.
Bob Dylan – “He Was a Friend of Mine”
This song has always stood out to us as a deeply compassionate and humanizing song that packs so much into its few and deceptively simple words. It reminds me of the wordlessness that comes with deep grief. At the anniversary of George Floyd’s death I think of the great losses our nation has experienced this year and the way all words felt clumsy and insufficiently small in the face of such dumbfounding, dark and evil things.
Big Thief – “Open Desert”
We’re having a hard time finding what’s not to like about anything and everything coming from Adrianne Lenker (and her band) these days.
The Beatles – “Julia”
This melody is so wistful, dreamlike, sad, and lovely. “When I cannot sing my heart I can only speak my mind, Julia, sleeping sand, silent cloud, touch me so I sing a song of love, Julia.”
Radiohead – “You and Whose Army?”
The beginning of this song makes us feel like we are suspended in shimmering stardust thick enough to hold a person’s weight. The arrangement blooms so patiently until you suddenly tumble down a flight of stairs. That a recording can do that is one of the main reasons we organize our life around music.
Antonio Carlos Jobim – “Look to the Sky”
I mean, are you not slow dancing by yourself on a terra cotta tile patio, barefoot, with a cocktail in hand when you hear this?
Labi Siffre – “Cannock Chase”
The combination of this picked guitar and gently shuffling percussion sounds like being in the car at dusk with the windows down, scenery flying by.
The Zombies – “Beechwood Park”
We’ve listened to this album so much in the past few years, but somehow only really noticed this song and its magnificence in the past week. Now we are obsessed.
Nick Drake – “Free Ride”
To us Nick Drake always sounds like sunlight filtering through the leaves of trees. Although this one carries a bit more urgency and pep than some of his other songs, this one is no exception.
Myriam Gendron – “Solace”
This song comes from an album of Dorothy Parker poems put to music by Myriam Gendron. The whole album is like a friend sitting silently beside you when you’re feeling a lot. You probably need it in your life.
Keur Mossa – “Quand le fils de l’homme viendra”
This song comes from an album that has been an immense comfort to us in times of transition. When far from home, while working on building our studio in early morning light, while in labor with our first child… It’s a beautiful treasure of humanity reaching toward divinity.
Tiny Ruins – “One Million Flowers (solo)”
This album is all solo guitar and voice versions of Tiny Ruins’ full-band album Olympic Girls. Hearing these songs stripped to their skeletons showcases how strong her songwriting and voice are. Though we were fans of the full-band album first, we prefer these versions hands down. We aspire to make songs that can stand on their own naked or dressed up.
Lowland Hum –”We Do What We’re Told (Milgram’s 37)”
This is our cover of Peter Gabriel’s “We Do What We’re Told (Milgram’s 37)” from his album, So. We covered that album in its entirety, calling our version So Low. Our version came out on the 35th anniversary of the original’s release.
Lou Reed – “Perfect Day”
This song is a cocktail of equal parts bummed-out and triumphant. How he does it we don’t know, but we love it.
Frank Sinatra – “Mood Indigo”
The strings and reeds in this song are like sitting on a fire escape in the warm balmy breeze of a summer evening. Sinatra’s delivery is so subtle and masterful. You can’t go wrong with any song on In the Wee Small Hours.
The Weather Station – “Trust”
We have long been fans of Tamara Lindeman. Her songwriting is like a window into the unspoken dialogue of real relationships.
Arthur Russell – “Close My Eyes”
This song is so visual to me (Lauren). It reads in the mind like a bedtime story complete with dark oil pastel illustrations. I dare you to close your eyes and not see it all.
Gold Connections –”Confession”
Will Marsh of Gold Connections is a dear friend of ours but we promise we aren’t biased. They just released this single and we can’t get enough of it. This song has it all: city and desert; neon signage and the kind of starry sky that can only be seen when you are far from civilization.
Bruce Springsteen – “Nebraska”
Tragic, startling, beautiful. Daniel always says he believes in this album because it gave him compassion for a mass murderer. That’s some power right there.
Paul Simon – “Night Game”
What a stunning and mournful number. Who knew a song about baseball could feel so mystical? Hold out for the otherworldly harmonica solo by Jean-Baptiste Frédéric Isidor. This one has comforted us on many a late-night drive.
Adrianne Lenker – “forwards beckon rebound”
This whole album is a treasure. This song has such a great momentum while remaining quiet.
Martin Denny – “Trade Winds”
This exotica album is a staple in our household during our newborn son’s bathtimes. But we find it perfectly appropriate for listeners of all ages and stages. It is perfectly campy and yet transportive.
Lowland Hum – “Waite”
We felt that we needed to include at least one original Lowland Hum song, so here’s our duskiest. This song was written while on tour in Europe in 2017. We were playing a house concert in a landscape painter’s home studio and gallery (Andy Waite is the name of the painter and now friend) and the guitar part mysteriously came to Daniel while we were setting up in the space. Something about being in a home so steeped in one person’s creative life and flow was magical. There was a very real substance in the air that mysteriously found its way into Daniel’s fingertips as he was messing around on guitar.
Artist:Charlie Marie Hometown: Burrillville, Rhode Island Latest Album:Ramble On Personal Nicknames: Charlie
Which artist has influenced you the most … and how?
Patsy Cline was the first country artist I ever listened to. My grandmother can be very critical of singers, but she was in love with Patsy. I would listen to her CD over and over again. I got a Patsy Cline songbook, so I could learn her songs at my vocal lessons. What Patsy taught me was to sing with your soul. Hardship is inevitable in life, but when you feel the stories that you tell you can process that pain. When you feel the hurt in your voice and hold it, then let it go, it can set you free for a moment.
What was the first moment that you knew you wanted to be a musician?
It was one of my first live performances. I was around 10 years old. My vocal coach, John Cottone, put on a show for his students’ friends and family. It took place at the Caruso Club in Lincoln, Rhode Island. I was really nervous, but once I got onstage the anxiety settled. I sang “Crazy” and “Walking After Midnight” by Patsy Cline while using a bar stool as a prop. I had this little skit that went along with the songs. I rehearsed it for days in my grandmother’s living room. When I finished everyone clapped and cheered. I felt a rush of joy exiting the spotlight and found my grandmother waiting for me near the students’ dressing room. She helped me change out of my show clothes and I told her how I wanted to be a country singer.
What rituals do you have, either in the studio or before a show?
Luckily the fear and anxiety that come up around certain music events force me to meditate. Before a “big” show or before a studio day, meditating is what helps me put my head on straight. It helps me see the big picture and recognize what’s going on inside my mind and body. A few years ago I found Tara Brach on YouTube and have been visiting her website weekly ever since. On her site, she has hundreds of free meditations and “talks” for people to use. I highly recommend giving one of her meditations a whirl.
Which elements of nature do you spend the most time with and how do those impact your work?
My favorite place to write songs is rested on the grass. I spend most of my time with the earth and air. During the summer I deeply enjoy being with the ocean. Luckily I live in a secluded area surrounded by woods. When I’m sitting on the front steps and the sun is shining down, all I want to do is write a song. Being in the elements inspires me. It is the place I feel safest and where creativity flows.
Since food and music go so well together, what is your dream pairing of a meal and a musician?
My ideal pairing would be Frank Sinatra alongside a plate of Chicken Sorrento and homemade pasta from Pat’s Italian Restaurant in Johnston, Rhode Island. Local Italian restaurants always play him in the background. Every time I experience the combination I feel young again. Everyone is together and we are all having fun.
Welcome to the 200th episode of the BGS Radio Hour! Since 2017, the show has been a weekly recap of all the great music, new and old, featured on BGS. This week we’ve got new releases from legends including Willie Nelson, and up-and-comers like Clint Roberts – and we can’t forget our March Artist of the Month, Valerie June! Remember to check back every Monday for a new episode of the BGS Radio Hour.
Through a career spanning more than a half decade and 95 albums, Willie Nelson continues to provide answers during our troubled times. His most recent record, That’s Life, celebrates the music of his friend and colleague Frank Sinatra.
In celebration of her newest album, Dark River, Lydia Luce joins BGS for a 5+5 this week, where we talked inspirations, favorite art forms (other than music), and performance rituals. We’d like to RSVP for that Pad Thai with Nick Drake, please.
San Francisco-based Jesse Brewster brings us a fictional tale from 19th-century Ireland this week. His new album, The Lonely Pines, is out now on Crooked Prairie Records.
From the upcoming album Changemakers, Crys Matthews extends a social justice invitation to us all in “Call Them In.” As a Black southerner, Matthews wrote the lyrics with freedom songs on her mind, supported by the inspiration of the late Representative John Lewis and Dr. Martin Luther King, Jr.
Recent guest of our Show On The Road podcast Langhorne Slim sat down with BGS to talk his new album, Strawberry Mansion. Though it was never planned, the album presented itself through self-discovery, through the many personal and shared hardships of the last year.
Many of those who have driven westward from Tennessee have jetted past Paducah, Kentucky. For Nashville-based singer and songwriter Nate Fredrick, it’s more than just a stop on the highway: it’s a stage in the journey where it becomes obvious that if he made it this far, he can make it to his home in Springfield, Missouri.
Being tough isn’t easy, but it’s something we can all do with the right inspiration. Cooper wrote this song for his nephew, Brazos, inspired by the river for which he was named. “I want him to remember that, like a river, he could shape mountains, instead of mountains shaping him,” Cooper tells BGS.
This West-Tennessee born and Brooklyn-based artist is our March Artist of the Month here at BGS! Stay tuned all month long for exclusive interviews and content featuring Valerie June. Here’s a track featuring soul legend Carla Thomas, from June’s new album The Moon and Stars: Prescriptions for Dreamers.
From Connecticut, Jesse Terry brings us a travel-inspired song, ironically completed right before the pandemic hit. Terry captures the feeling of taking a risk, despite fear of the unknown, and the shared experience of emerging out of it a more fulfilled human being.
For Lauren Spring, “I Remember You” is about choosing to remember someone in a kinder light than what the relationship may have been in reality. We should note the song’s inspiration: the viral TikTok video featuring a skateboarder, cranberry juice, and Fleetwood Mac’s ‘Dreams’ may or may not have subconsciously influenced the song’s sound.
Portland-based blues musician Curtis Salgado brings us a 5+5 this week in celebration of his new album, Damage Control. From an unexpected performance with B.B. King to a dream musician and meal pairing, Salgado seems to be nailing those three mission statements that he gave BGS.
For this Western North Carolina-based singer and songwriter, the mountains are his inspiration. As a trail runner, Roberts uses his time running through the mountains to hash out lyrics and music – perhaps this song, from his new Rose Songs, was one of them.
Inspired by pickers as varied as the plugged-in sounds of Joe Satriani and Eric Johnson to acoustic masters like Chris Thile and Béla Fleck, this Tucson-based duo brings us a rare (for them) instrumental on their new album, Under the Leaves.
Many of us have heard this phrase in the past, but almost definitely this past year: Silence is violence. But we can’t give up on reaching out to those who are silent for help; we have to uproot the complacency that plagues our society. As Chris Pierce tells BGS, “If you smile and applaud for those different than you, be willing to fight for those folks too.”
Photos: (L to R) Willie Nelson; Valerie June by Renata Raksha; Lydia Luce by Alysse Gafjken
In the midst of a pretty tricky year, Willie Nelson has just the thing to correct our course in 2021. The Red-Headed Stranger has just released That’s Life, a new studio album (his 95th!) that celebrates the music of his longtime friend and colleague Frank Sinatra. The record’s title track encapsulates a resiliency that should inspire all of us after some trying times. The song’s doggedly stubborn optimism was popularized by Sinatra’s 1966 album of the same name, and in 2019, the obstinate cheeriness of the tune was used to contrast the dark thematic content of the feature film Joker.
Willie’s take is fresh, turning his phrase in similar ways that Sinatra might, but with Nelson’s own charm imbued into the lyrics. A lyric video accompanies the single’s release and depicts artist Paul Mann painting the album cover. Mann, a legend in the movie poster realm, pays tribute to classic Sinatra record covers by positioning Nelson and his companion Trigger in the faint glow of a streetlamp. Recorded mostly in Capitol Studios in Hollywood, the album features ten other Sinatra favorites, including “I’ve Got You Under My Skin” and “Luck Be a Lady.” Watch the lyric video for Willie Nelson’s rendition of “That’s Life.”
In the afterglow of acclaim from her latest album, Sarah Jarosz kept her YouTube channel active, another creative COVID outlet for the singer-songwriter and picker. Along with releasing videos for songs from World on the Ground, she also contributed to a charming cover song series throughout 2020. Truly a fan’s artist, Jarosz’s effort to generate a regularly flowing stream of content is one of the many reasons why we at BGS and fans everywhere adore her work. (Read Part 1 and Part 2 of our Artist of the Month interview from June of this year.)
Not only is the Texas native’s talent undeniable and her style unique, but Jarosz enhances our day-to-day experiences with each. Unable to tour, she instead filmed renditions of songs by folks like Kacey Musgraves, Bob Dylan, and Maggie Rogers. Here, Jarosz performs a Frank Sinatra classic on mandocello, alongside bassist Jeff Picker. Beautiful and reminiscent of a bygone era, watch as the two breathe Americana life into this timeless jazz number.
Photo credit: Josh Wool
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