Tag: Friends & Neighbors

With an Acoustic Guitar in Hand, Joy Oladokun Sings “Judas”

Posted on by Editor

Joy Oladokun, a singer-songwriter based in Nashville, has had a long journey to get to where she is now. The daughter of Nigerian immigrants and the first of her family to be born in the US, Oladokun is fresh off the release of In Defense of My Own Happiness (Complete). The collection features 14 songs, as well as guest appearances by Maren Morris and Penny and Sparrow. The singer’s artistry comes from an incredibly unique experience of growing up as a young woman of color in rural Arizona and fostering her musicianship in the church before leaving the church and coming out of the closet. (Read the BGS interview.)

From Arizona to L.A. then across country to Nashville with a new outlook and perspective, Oladokun’s music stands on a plane with a unique vantage point. Her words are precise and delicate, mirroring her humble yet evocative instrumental style. Oladokun’s music has touched many ears and hearts, evidenced by the reward bestowed upon her by YouTube in 2021 when she received a grant from the #YouTubeBlackVoices fund. In this video release, Joy sings “Judas” off her latest album in the confined familiarity of a porch. She is able to do more with just an acoustic guitar and her voice than many artists can in an entire discography of work. Watch “Judas” performed live by Joy Oladokun below.

Photo credit: Nolan Knight

In This Unearthed 1968 Live Recording, Johnny Cash Sings “I’m Going to Memphis”

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New music from Johnny Cash is coming in September from a surprising source. Members of the Owsley Stanley Foundation have partnered with Renew Records and BMG to release a never-before-heard capture of a Johnny Cash concert in 1968. The upcoming release, titled Bear’s Sonic Journals: Johnny Cash At the Carousel Ballroom April 24 1968, was captured by in-house sound engineer Owsley “Bear” Stanley only days prior to the release of Cash’s legendary live record At Folsom Prison. That means the new album will provide another window through which we’ll be able to hear Johnny Cash, June Carter Cash, and the Tennessee Three (guitarist Luther Perkins, bassist Marshall Grant and drummer W.S. Holland) at their peak, performing songs that shaped an entire genre. John Carter Cash, the country stars’ son, describes it as “what I believe to be one of the most intimate and connected shows I have ever heard.”

Recorded in the heart of the counterculture movement of the ‘60s in San Francisco, the new collection is slated for a September 24 release on a CD/2 LP set. To promote the project (as if we needed anything more to be excited about), the Owsley Stanley Foundation and Renew/BMG have released “I’m Going to Memphis” from the concert, and it is absolutely brimming with Cash’s signature charisma and debonair delivery. So many of classic country’s textures line the recording: tick-tack electric guitar, train-beat shuffle, brash acoustic rhythm, and of course, rich, velvety vocals to round out the arrangement. It’s a snapshot of one of country music’s most fertile moments in history and we’ll be wearing this one out all summer in anticipation for the rest of the live album’s release.

Listen to the official audio and check out this feature from Rolling Stone about new music from Johnny Cash.

 

Sam Williams Carries His Country Music Legacy to Late Night Debut

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On his primetime television debut, Sam Williams makes a powerful statement. Grandson of the legendary Hank Williams and son of Hank Williams Jr., the rising recording artist previewed his debut album, Glasshouse Children with a riveting performance from his grandfather’s old house in Franklin, Tennessee. In an extended one-shot capture, Sam Williams does his name proud with a beautifully-written song called “You Can’t Fool Your Own Blood.” Out of a less-than-usual childhood and recent family tragedy, he has emerged with a style that is both poetic and hard-hitting, pulling no punches in his blend of honesty and vulnerability.

With an undoubtedly heavy burden of expectation, Williams blossoms in this realm of singer-songwriters who are more forlorn than raucous, standing with the likes of artists such as Donovan Woods and Ruston Kelly. Although his television debut was one for the books, perhaps the more exciting news is of the debut full-length record, set for a release later this summer on UMG Nashville. Music from Sam Williams has undoubtedly been a long time in the making, but the good news for us is that it’s almost here. Watch his performance on The Late Show with Stephen Colbert below.

Photo credit: Claire Joyce

Jamestown Revival Mine the Legacy of Louis L’Amour in “Prospector’s Blues”

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Folk-rock duo Jamestown Revival‘s new project provides an interesting study in the intersection of music and literature, as band members Jonathan Clay and Zach Chance wrote songs inspired by the work of American novelist Louis L’Amour. Titled Fireside with Louis L’Amour, the creative genesis of the EP brings to life an intriguing concept that will draw in any and all folk enthusiasts.

To tease the EP, the band released an official video for “Prospector’s Blues,” derived from the short story, “Trap of Gold.” The song follows a miner whose feverish hunt for riches finds him an early burial beneath the weight of his own recklessness. Like the story, the song imparts a nonchalant, “business as usual” attitude toward the tragedy of greed, as the train-like groove rumbles right through the parable in the lyrics. Acoustic guitar, pulsing rhythm, and Old West allegory — what’s not to love? Check out the video for “Prospector’s Blues” below.

Photo credit: Paul Pryor

WATCH: Nathaniel Rateliff Adds a String Quartet to “And It’s Still Alright”

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Nathaniel Rateliff’s And It’s Still Alright album is the product of a tumultuous time in the writer’s life, but such are the circumstances that yield the most compelling songs, records, and artistic expressions. In this NPR Tiny Desk (Home) Concert filmed at the Mercury Café in Denver, Rateliff performs several songs from the 2020 record, including the title track and “All or Nothing,” a more wistful selection. Since the Tiny Desk shows have reformatted to accommodate for safety, the features have frequently been scaled-back performances, often filmed in the homes of the artists, but in this case, Rateliff adds his band and a string quartet to the studio-like space. The surroundings may not be as iconic as the actual Tiny Desk, but we’re thankful that artists are going above and beyond to give us outstanding mini concerts. This Tiny Desk set is no different, and like the album, it crescendos gradually from an atmospheric, ponderous beginning to a triumphant, boisterous finale with the songs “Redemption” and “Mavis.”

Photo credit: Rett Rogers

Hawktail’s “Antilopen” Is Playful and Awe-Inspiring at the Same Time

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One of the most fearsome foursomes in modern instrumental bluegrass is at it again. A year on from the release of their sophomore record Formations, Hawktail spent their time off the road and in the lab over the last year, writing and arranging music that offers their characteristic finesse and virtuosity while never sacrificing melodic excellence. In the simple setting of a garage, the group performs “Antilopen,” which features a harsh, angular melody that gets traded around between bass and fiddle, while the guitar and mandolin provide rhythmic support and melodic responses.

As the song develops, all four musicians have a chance to really stretch out over the tune, passing the spotlight between them in a way that is playful and awe-inspiring at the same time. That’s no surprise when you consider the creativity of its members: Hawktail is composed of fiddler Brittany Haas, bassist Paul Kowert, guitarist Jordan Tice, and mandolinist Dominick Leslie. And if you haven’t treated yourself to this Nashville-based band’s music yet, we implore you to check out this live rendition of Lena Jonsson’s “Antilopen,” which was released this spring. You won’t regret it.

Photo credit: Dylan Ladds

The Band Revives a Landmark Tour on ‘Stage Fright’ Anniversary Edition

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You may have heard The Band’s third full-length album, Stage Fright, but you’ve never heard it like this.

Released in August 1970, Stage Fright features two of the group’s biggest hits, its title track and “The Shape I’m In.” A year later, The Band embarked on their first European tour in five years after a regrettable outing backing Bob Dylan, during which folk fans booed the singer’s electric aspirations. Not sure what to expect, their 1971 European tour proved to be one of The Band’s most successful, as crowds all over the continent displayed frenzied adoration at their shows.

So to celebrate not only a classic album, but also the memory of a landmark tour, The Band has unveiled a 50th anniversary edition of Stage Fright. Its original multi-track masters are presented by Bob Clearmountain in a new stereo mix; guided by The Band’s Robbie Robertson, it’s also reissued in the originally planned song order. The set includes alternate versions of “Strawberry Wine” and “Sleeping,” plus seven unearthed cuts, compiled as Calgary Hotel Recordings, 1970, which capture a late night hotel jam session between Robertson, Rick Danko, and Richard Manuel.

The expanded album also offers a wealth of previously unheard recordings from that tour. Presented on a second disc (a simple continuation on the digital release), Live at the Royal Albert Hall, June 1971, bears witness to what was truly a peak performance for a group loved and revered by so many. The 20-song set, originally recorded to a four-track tape machine, has been remixed and remastered for a clearer experience of the electrifying performance, providing fans an opportunity to be transported right back to London, 1971. Hear The Band perform classics from their first three records as well as covers of Bob Dylan and Stevie Wonder with the deluxe 50th anniversary edition of Stage Fright.

Photo credit: Norman Seeff

On the Front Porch, Nick Shoulders Strums and Yodels for OurVinyl

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Not many artists are doing what Nick Shoulders is doing today. With energy, attitude, and a yodel as good as any out there, Shoulders is keeping that classic country and western sound alive. Theatricality and vigor sum up this Arkansan’s style as a singer and songwriter, drawing on deep ties to southern music and life experiences gathered in his Ozark upbringing.

A true embodiment of integrity and DIY ethics, Shoulders’ new album, Home on the Rage, was recorded entirely in Arkansas and captured onto tape. In this OurVinyl session, Nick Shoulders and vibrant fiddler Milly Raccoon stand on the front porch of an old farm home and perform the upbeat number, “After Hours.” To hear something that harks from way back but with a modern twinge about it, check out the OurVinyl session below.

Photo credit: Molly Mantow

WATCH: Nickel Creek Return to “Helena” for Their Livecreek Experience

Posted on by Justin Hiltner

Of all the good news that has come out of 2021 so far, none might be sweeter than the news that Nickel Creek has been re-joining forces to write and perform music again. On the final two Sundays of February, the band hosted two livestream concert events called “Nickel Stream: A Livecreek Experience” via Mandolin.com.

Not missing a step or forgetting a lyric, the trio’s performances were immaculate and reminded audiences why Nickel Creek is a special band. In this video of “Helena,” they exercise the signature spice that has always marked their music, taking their listeners on a journey that grows and evolves until its frenzied end. Sara and Sean Watkins together with Chris Thile effortlessly create beautiful, entrancing music, no matter the context and to hear fresh renditions of some of Nickel Creek’s beloved material is welcome anytime here at BGS.

 

WATCH: Billy Strings and Sierra Hull Cover Post Malone’s “Circles”

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In the wake of his 2020 Streaming Strings tour, Billy Strings shared clips from the tour’s various performance nights across multiple Nashville venues. This particular release is a special one, as Sierra Hull joined Billy and the band for a feature at the Brooklyn Bowl. The song? Bluegrass staple, “Circles” by Post Malone. Or at least they make it seem as if “Circles” was always a bluegrass tune.

In this cooler-than-life cover, Strings sees beyond the gap that divides bluegrass and pop music, connecting his affinity for the spacey to Post Malone’s contemplative vibe. On paper, it seems like a very unusual comparison, but a deeper look might reveal that the mood of Malone’s recording of “Circles” is similar in many ways to the moods of “While I’m Waiting Here” or “Away from the Mire” by Strings. With Malone’s recent country covers going semi-viral (plus rumors of a country double album and social media evidence of a developing friendship between him and Strings), the combination actually makes a lot of sense – besides just being damn cool.

In concert, Billy, his band, and Sierra Hull are able to pull “Circles” off with conviction.

Photo credits: Billy Strings by Emma Delevante; Sierra Hull by Gina Binkley.