Tag: george jones

Way Too Many Trees

Posted on by Justin Hiltner

Ian Munsick carries Wyoming with him wherever he goes. Though he’s now based in Nashville, Munsick consistently documents his affection for the Cowboy State through his music. For example, he named his new album Eagle Feather, a title that alludes to a gift he received at his honorary Crow Native American tribal adoption last year.

The closing track on that 20-song collection, “The Gate,” is bookended by the voices of his father and his son, underscoring the life lessons within the poignant lyrics. He even enlisted Buck Brannaman, an inspiration for Nicholas Evans’ 1995 novel, The Horse Whisperer, to appear in the music video for “Horses, Not Hearts.”

On a rare break from touring, Munsick chatted with Good Country about moving to Nashville as an 18-year-old, his admiration for bluegrass musicians, and his most reliable piece of advice.

Let’s start by talking about the video for “Horses, Not Hearts.” Why did you like the treatment for that video?

Ian Munsick: When it comes to everything for the eyes, my wife has a huge part in that. She’s also my manager and she’s very good at branding. The majority of my imagery comes from her, and she had that idea of going back home to Wyoming. There’s an old cowboy in Wyoming that’s one of the best horsemen in the world named Buck Brannaman. We always try to incorporate and feature real people in the West that are very good at what they do. This is a common theme for us, and he was one that we hadn’t included yet. We’re from Sheridan, and his wife is best friends with my mom, and we go way, way back. Before I was even born, they knew me, so it was cool getting to work with him and his daughter and his wife.

We’re really trying to portray an accurate picture of the real West. That’s always been my goal as an artist, and there’s no better way of doing that than to have world class horsemen and cowboys.

I think you’re a visual songwriter, too. “Too Many Trees” has a lot of visuals in it, and it’s a love song, but there’s also that issue of where to settle down. Is that something you and your wife talk about – thirty years in the future, where you want to be?

Oh yeah, all the time. I lucked out in that my wife loves Wyoming and I knew that that was going to have to be a precursor, because that’s where I belong. That’s where I feel most at home. She’s from North Carolina and there’s a lot of trees and hills there. I started to think to myself, “What if she didn’t like Wyoming?” That’s how that song came about. Being from Wyoming, there’s no trees there. They’re only on the mountains and by the rivers and that’s it. So, moving to Nashville when I was 18, it was a pretty dramatic geographical change.

I always had that idea and that title and then I picked up my three-year-old nephew from the airport. He flew in a couple years ago with his parents and we were riding back home in the truck back to our house in Nashville. I don’t think that he had ever left Wyoming, so it was his first time out. The first thing that he told me in the truck on the way home was, “Man, there’s so many trees out here.” I was like, “I’ve got to write that song!” That’s what sparked it.

When you thought, “All right, I’m moving to Nashville,” what was your goal?

I didn’t really have a big goal. My main goal was to play music for a living. I knew that if I was making music, then I was gonna be happy. It didn’t matter if I was writing songs or if I was playing in a band, or if I was producing songs, or if I was being an artist. I just knew that I wanted to be playing music all the time. Then slowly after I got here, I started to realize everybody that’s an artist right now is from the same area. They’re from Georgia or Tennessee or Texas and that’s it. So it’s like, maybe I have a unique outlook on what country is. That’s what inspired my whole artistry.


Photo Credit: Raul Esparza

Did you get a lot of radio stations where you grew up?

No, man! As you can imagine. There were three stations, two of them were country and one was rock. That’s it.

Wow. Did you listen to rock and roll coming up as a kid? Did you like it?

Yeah, my dad – he’s just a very good musical mind. He plays a bunch of instruments, writes his own music, so he turned me and my two older brothers on to all kinds of music when we were young. So honestly, I didn’t really listen to country radio very much, just because my dad hated it. He’s like, “Oh, this isn’t real country music.” That’s always what he would say. So we didn’t really listen to much radio country. It was like old tapes of Merle Haggard and George Jones – and the Beach Boys, Fleetwood Mac, Chris Ledoux, all kinds of music.

Did you get up on stage a lot as a kid and play with your dad?

Yeah, my dad taught my two brothers and me how to play music at a young age. By the time I was about 10 years old, we were on stage all together as a family band. That’s how I started. We’d play rodeos and after-parties, dances, just whoever would have us. That’s how I came up playing music, learning through them.

From the videos I’ve seen, and looking at your videos on social media, it seems to me like you don’t have stage fright. Did you lose that early as a kid?

Yeah, my dad knows how to engage an audience very well, so I got to learn that at a really young age. And my two older brothers already knew, from him, how to engage a crowd. So I had three people I looked up to that were already really good at that and I definitely learned from them.

I found one of your songs on Spotify called “Me Against the Mountain” and I was surprised to hear banjo on there. What was on your mind as that song was taking shape?

Like most writers, I have my voice memos on my iPhone, just hundreds of them on there. During COVID, I was writing with two people that I had never written with that would quickly become two of my favorite people to write with, Jeremy Spillman and Randy Montana. I had this little thing that was just like [imitates twangy licks] and it felt very backwoods mountain bluegrass. So I just picked up my banjo and started to play that. I did have the word “mountain,” and Randy was like, “Man, that’s just a really cool vibe. I wonder if it’s ‘me against the mountain?’” The mountain could be an actual mountain, or it could be a metaphor for an obstacle that’s between you and the one you love. So that’s how it came to be.

I recorded the whole thing in my studio and I mixed it right there. My wife and I were about to get married and I played it for her in the car. She’s like, “This needs to be our wedding song.” I was like, “All right, sweet.” So we made that music video around our wedding, which is something I feel like only happens when your wife is your manager. [Laughs]

How did you acquire a banjo?

For that one, that might have been a ganjo. Right after I made that track, I was like, “Man, you have no idea how long it took me to get that thing to sound good.” Like all ganjos do! But after that, for my birthday, my wife went to Carter Vintage and bought me a Deering banjo. It’s a beautiful banjo! It’s honestly one of the nicest instruments that I own. I just keep that bad boy in my studio. I can play “Cripple Creek” and that’s about it. But when you’re in the studio, you have the advantage of tuning it weird and making weird noises with it and fooling around until it’s good. What a cool instrument that just immediately puts you in a vibe. The acoustic guitar obviously can do a lot of things, but when you hear a banjo, it’s like you’re there. It just takes you to that place. It’s a very special instrument.

Do you remember when you got introduced to bluegrass or learned about it?

Yeah, my dad’s primary instrument is fiddle. I remember him playing all those old fiddle tunes when I was growing up. He gave me my granddad’s mandolin at a young age and he would teach me how to play those old fiddle tunes on the mandolin. So that’s my first real intro to old traditional bluegrass music.

But then, through people like Yonder Mountain String Band, Steep Canyon Rangers, Doc Watson, and Ricky Skaggs & Kentucky Thunder, I really started to navigate my own [path through] bluegrass music. I fell in love with harmonies, number one. Those were the main things that drew me in. I’ve always been a huge harmony guy. I love the Beach Boys. I love The Beatles. And bluegrass was that other thing that really played on those three-part harmonies. Being the youngest of the three brothers, that was our thing – to sing harmonies. That’s probably what drew me in, right out of the gate as a kid. And the older I get, the more I appreciate the playing. Those are some of the best musicians in the world playing bluegrass music.

On “Cheyenne,” you’re putting yourself out there with just a guitar and not much else. What stands out about that song for you?

Lyrically I really love that one. You probably know a little bit about that town, but Frontier Days obviously is when everyone comes to Cheyenne. People think that’s the big hot spot of Wyoming, through that rodeo, but really that’s the only two weeks that anything ever happens there. Other than that, it’s a total ghost town. Not a lot of action. Even though it is the state capital, nothing goes on there. I thought it was a cool idea, lyrically. I had that guitar riff going into the write and I’ve always been a huge believer in four-chord or five-chord change, back and forth, like Fleetwood Mac’s “Dreams.” How it never goes to the one, how it never resolves. That’s the vibe for that one.

I produced that with Jeremy Spillman, and him being older and much wiser than me, he’s like, “Man, this song doesn’t need much. It doesn’t need a kick drum. Just throw a little snare in there and maybe a steel guitar, and that’s it.” That’s what I’ve been liking, too. The older I get, the more I don’t like a bunch of noise, which is probably the human experience! [Laughs] I feel like overdoing it is pretty easy for producing music, and I think it can speak more if there’s less in it, and it allows the audience to have a little bit of room to imagine things.

When I was in college, I loved the song “I Can Still Make Cheyenne.” Do you like that one?

Man, I’ll tell you what. Dude, I heard that maybe not for the first time in high school, but that’s the first time I remember hearing it. It was my freshman year. Holy shit, dude, it rocked my world. I listened to it on repeat on iTunes for two weeks straight. It was like, “I can’t get enough of this.” To this day, that’s probably my favorite country song of all time. So good.

There’s a lot of life lessons in your song, “The Gate.” You probably learned some of those lessons the hard way. Especially in the music business, no doubt. When people approach you for advice, how do you handle that?

I’m always really inspired to try and help people as much as I can through my experiences. First thing I tell them is that I’m a ranch dude from Wyoming. So if I can do this, you can do whatever you want. There’s no world that’s more opposite than ranching in Wyoming to the entertainment industry. That’s as opposite as it gets. So if I can do it, then they can do it.

Man, I just try and use my mistakes, so that hopefully they don’t have to make those mistakes. I’m still young, I still have plenty more mistakes to be made. But what the main thing is, growing up in Wyoming, you’ve got to work your ass off and you want to be around people that are good people. It’s great if they can help you, or if you can profit with them, but the number one thing is just making sure you’re with good people that have your back.

Photo Credit: Cam Mackey

MIXTAPE: “Tempus Fugit” – Joe Mullins’ Past, Present, and Future Playlist

Posted on by Justin Hiltner

I’m rarely satisfied with the status quo. And I love roots music that is bona fide. Well, I’ve used up most of my Latin vocabulary very quickly.

I didn’t know what “Tempus Fugit“ meant until I got a wonderful new song from Tim Stafford and Missy Raines, both great artists, writers, and old friends. Missy and I were together with our bands at Americanafest in Nashville in 2024. I was chatting with her and said, “We’ve been doing this a long time,” since we got acquainted in the 1980s, as we were both learning everything about the bluegrass community. Missy said, “Yes, but we have heard so much great music and met so many wonderful people. And getting older isn’t a bad thing!” Then she told me she and Tim had a song about the subject. I had to hear it and I loved it!

Our new single, “Time Adds Up (If You’re Lucky)” is out just a few weeks after the new gospel album from JMRR was released in March. Thankful and Blessed is a collection of eight new sacred songs and two revived oldies. I’m grateful for the opportunity to deliver the spiritual message and provide an inspiring gospel collection, but I’m thankful for a great variety of music, and I’ve been blessed by the powerful talents of great musicians, singers and songwriters of all kinds.

So, this Mixtape is truly a mix – some songs from the past that inspire me, a tune from the current JMRR gospel album, and our latest bluegrass single from an album releasing in the near future. Carpe diem! – Joe Mullins

“Time Adds Up (If You’re Lucky)” – Joe Mullins & The Radio Ramblers

“Time Adds Up (If You’re Lucky)” is the new bluegrass single by JMRR. “Tempus Fugit” are the first words of the song, meaning time flies. The lyrics were so relatable for me at this phase of life. I have been on stage with a banjo and on radio in some capacity since 1982. Now, over four decades later, I have my first grandchild – and she’s gorgeous by the way!

I’m not just lucky, I’m thankful and blessed.

“My Ropin’ Days Are Done” – Blue Highway

Tim Stafford is such a great writer! This is a favorite recording of one of the most consistent bands of the past 30 years. Wayne Taylor sings with soul and the song is as lonesome as a one-car funeral procession.

“Yardbird” – Larry Cordle

Music has to be fun sometimes! I love a good sad song, but clever lyrics that are so entertaining have been penned by Larry Cordle for years. And the mighty Cord is a great singer, too. Cord is also one of my favorite people, one of those who you always look forward to seeing. He’s been very supportive of my recording career, providing many songs. He and Larry Shell wrote “Lord I’m Thankful” in our new gospel album and a new working man’s song in the Radio Ramblers bluegrass album that releases soon.

“Andy – I Can’t Live Without You” – Ashley McBryde

She has such a believable delivery, and this song is gritty and sincere. The beauty of simplicity can’t be beat – a great voice, a killer song, and one guitar.

“Gonna Be Movin'” – Larry Sparks

Sparks is a stylist, both vocally and instrumentally. He’s an original in every way. I’m pretty sure he has his own zip code. Interestingly, Larry sings three of the four vocal parts in the quartet portions of this recording from the 1980s. Randall Hylton was a superb songwriter and performer whose home-going was way too soon. His bluegrass gospel songs will be enjoyed eternally and this is one of Randall’s best. I was fortunate to have a song from Randall’s catalog that was never recorded, and it’s the a cappella selection in our new album.

“Looking at the World Through a Windshield” – Daniel Grindstaff with Trey Hensley

One of East Tennessee’s great banjo men, Daniel Grindstaff, produced one of my favorite recordings of 2024. I love good, driving country music. I’ve managed a small network of radio stations for many years and we feature a lot of hard-hitting country music from every era. Daniel and Trey nailed this old truckin’ tune with a contagious, grassy groove.

“Beneath That Lonely Mound of Clay” – George Jones & The Smoky Mountain Boys

Yes, it’s a sad song. Graveyard tunes have always been part of the bluegrass and country canon. But I want the world to be aware of this album. Jones went to the studio with Roy Acuff’s band in the very early 1970s and recorded his favorite Acuff songs. The album wasn’t released until 2017. I’m a huge fan of George’s music from his six-decade career and he was in his prime here with an acoustic band that helped define country music on the Grand Ole Opry stage.

“Journey On” – Joe Mullins & The Radio Ramblers

If you’re enjoying the mixtape in order, we need something uplifting after our stop at the cemetery. This is a new song featuring the Ramblers quartet. The perseverance of the saints is celebrated in this tune from our new album Thankful and Blessed.

“From Life’s Other Side” – Lee Ann Womack

I was fortunate enough to produce an award-winning album during the pandemic. This song is on the 2021 IBMA Album of the Year, Industrial Strength Bluegrass. The album celebrates music I grew up on in my neighborhood, Southwestern Ohio. Dave Evans was an Ohio singer and songwriter with soul oozing out of every note he breathed, like Lee Ann Womack. Her treatment of one of Dave’s rare songs was a highlight of that album that is so special to me.

“Lonesome Day” – The Osborne Brothers

I must include an Osborne Brothers song, because I’ve listened to their music almost daily for my entire life. Bobby’s vocal delivery and Sonny’s banjo genius are among my greatest influences. This cut was produced about 1977. They went to the studio to record a collection of songs from their traditional bluegrass roots, after crossing over into mainstream country during the previous decade. You’ll be hard-pressed to find a more pure voice, and each instrument rings with huge tone because of the perfect touches, including Kenny Baker and Blaine Sprouse on fiddles, and the legendary Bob Moore on bass. Just turn it wide open on repeat!

Photo Credit: Brandy Buckner

Women’s History Spotlight: Rhonda Vincent, Rissi Palmer, and More

Posted on by Justin Hiltner

March is Women’s History Month, and BGS, Good Country, and Real Roots Radio have partnered to highlight a variety of our favorite women in country, bluegrass, and roots music with our Women’s History Spotlight.

Each weekday in March at 11AM Eastern (8AM Pacific) on Real Roots Radio, host Daniel Mullins will be celebrating a powerful woman in roots music during the Women’s History Spotlight segment of The Daniel Mullins Midday Music Spectacular. You can listen to Real Roots Radio online 24/7 or via their FREE app for smartphones or tablets.

Then, we will have a Friday recap here on BGS featuring the artists highlighted throughout the previous week. No list is comprehensive, but we hope to feature some familiar favorites as well as some trailblazers whose music and impact might not be as familiar to you.

This week’s edition of our Women’s History Spotlight features musicians and artists like Jean Shepard, Rissi Palmer, Tammy Wynette, Rhonda Vincent, and Leona Williams. Tune in next week for more accomplished and impactful women of roots music!

Jean Shepard

Jean Shepard was a boss. She was the first female country artist to have a million-selling single after World War II with the smash hit, “Dear John Letter” (featuring Ferlin Husky), which was also a Top 5 hit on the Billboard Pop charts. Her debut album, Songs of A Love Affair, may very well be country music’s first concept album – and certainly the first by a female country artist. Her feisty spirit came across in her honky-tonk sound.

Tall tales abound about Jean’s moxy, including her being the only artist on a big package tour who was brave enough to call out George Jones for his drunkenness embarrassing the entire troupe (supposedly, he sobered up quick rather than face her wrath again). Her straight ahead country sound can be heard on such hits as “Slippin’ Away,” “Second Fiddle (To An Old Guitar),” “A Satisfied Mind,” and more.

In a career spanning seven different decades, she was the first female Grand Ole Opry member to remain active for 60 consecutive years, and she was inducted into the Country Music Hall of Fame in 2011 (decades late according to some, myself included). Jean married fellow country star Hawkshaw Hawkins in 1960, and was widowed after only three years of marriage as Hawkshaw passed away in the same plane crash that took the lives of Patsy Cline and Cowboy Copas. She would remarry to Benny Birchfield (who appeared on countless classic recordings by The Osborne Brothers), and they would be a quintessential country couple until her passing in 2016.

Rissi Palmer

In 2007, Rissi Palmer ended a 20 year drought, during which a woman African-American country artist had not appeared on the country charts. Her debut single, the catchy as heck “Country Girl,” marked the occasion and since then she has continued to be an advocate for Black women in country music spaces. The Pittsburgh native was largely influenced by Patsy Cline (whose “Leavin’ On Your Mind” was beautifully covered by Palmer on her debut album). For over a decade and a half, she has been a leader for Black voices in country, illuminating the stories of Black country artists — past and present — with her Apple Music Radio show, Color Me Country, named after the debut album of country trailblazer Linda Martell, who Beyoncé recently just overtook as the highest charting African-American woman on the Billboard country charts. Palmer’s most personal song, “You Were Here” has encouraged women worldwide, as it deals openly and honestly with miscarriage.

“This song was written for and to the child I lost at 3 months pregnant in the Summer of 2018, who would have been named Sage. I dedicate this song to anyone who has suffered a miscarriage or loss of any kind. You aren’t alone…” — Rissi Palmer

Tammy Wynette

Known was “The First Lady of Country Music,” Tammy Wynette’s life was filled with tragic twists and turns. Born Virginia Wynette Pugh in Itawamba County, Mississippi, she became a massive country music star shortly following the release of her debut single, “Apartment No. 9.” Her working relationship with producer Billy Sherrill (who came up with the stage name “Tammy” and paired it with her middle name, Wynette) was one of the most fruitful artist-producer pairings in the country music history, resulting in such massive hits as “Your Good Girl’s Gonna Go Bad,” “I Don’t Wanna Play House,” “D-I-V-O-R-C-E,” and dozens more.

Her signature song, “Stand By Your Man,” was viewed as an anti-feminist anthem when it was released. Topping the country charts and reaching the Top 20 on the Billboard Hot 100, the popularity of “Stand By Your Man” catapulted Wynette’s career to another level, including Grand Ole Opry membership and a slew of awards. Ironically, the “Stand By Your Man” singer’s personal life was tabloid fodder for decades, as she was married five times (including famously to George Jones, with whom she released some of the most iconic country duet hits of all time).

Tragically, the public stigma of having been divorced four times was a contributing factor to her not leaving her last husband, George Richey. Wynette’s toxic relationship with Richey resulted in her (presumably) faking her own kidnapping to cover up signs of abuse, expedited her decline into drug abuse, and ended with her mysterious passing at only 55 years of age. She was inducted into the Country Music Hall of Fame in 1998, the same year as her passing.

Rhonda Vincent

The undisputed “Queen of Bluegrass,” Rhonda Vincent grew up performing with her family band, The Sally Mountain Show. This Missouri family band performed frequently at Silver Dollar City and was a popular bluegrass festival act, also including Rhonda’s younger brother, Darrin Vincent of Dailey & Vincent. In the 1980s, she would be hired by country music legend Jim Ed Brown. (When she went on the road with Jim Ed Brown, The Sally Mountain Show hired a young Illinois girl named Alison Krauss to fill Rhonda’s shows for their summer festival schedule.)

Rhonda would release some solo bluegrass projects for Rebel Records in the early 1990s before signing a country deal with Giant Records. Her country records in the mid-’90s are phenomenal, but unfortunately for Rhonda, the fickle winds of music industry trends shifted to a more pop sound at the same time she was releasing these great traditional country records, resulting in a lack of commercial success. As the new millennium dawned, Rhonda Vincent triumphantly returned to bluegrass in 2000 with the release of Back Home Again on Rounder Records, and hasn’t looked back.

The All-American Bluegrass Girl has certainly been one of the genre’s biggest stars for the last few decades, with no signs of slowing down, winning her first Grammy and joining the Grand Ole Opry in recent years. She is also a popular collaboration partner both inside and outside of bluegrass, including recordings with Gene Watson, Daryle Singletary, Cody Johnson, Dolly Parton, Bobby Osborne, and many more. Her influence is felt all over bluegrass — heck, one of the most popular bluegrass Instagram accounts, Bluegrass Barbie, is practically a Rhonda Vincent stan account, and we’re here for it.

Bluegrass fans are blessed to live in a time where this future member of the Bluegrass Music Hall of Fame is still in her prime – enjoy it because your future great-grandchildren will want to hear about it someday.

See if you can recognize the future superstar that makes a brief appearance in this 2003 Rhonda Vincent music video.

Leona Williams

Another Missouri gal, Leona Williams is one of the best traditional country singers with whom you may not be as familiar. She has been making country music for over 65 years! Early in her career, she played bass and sang backup on the road with Loretta Lynn, before releasing her own solo records. She had modest success with “Country Girl With Hot Pants On” and “Once More,” but her signature song, the now classic, “Yes Ma’am, He Found Me In A Honky Tonk,” never charted.

Leona also became the first female country artist to release a live prison album with 1976’s San Quentin’s First Lady. Many may remember Leona for her duet recordings with Merle Haggard (like “The Bull and The Beaver”); they were married for five years. Leona penned some major hits for her ex-husband, like “Some Day When Things Are Good” and “You Take Me For Granted,” the latter of which she supposedly wrote about her rocky relationship with The Hag and sang to him to express how she was feeling. She also wrote hits for Connie Smith and Loretta Lynn. Leona continues to record and tour. Having seen her in concert just a few years ago, be sure to catch her live show if you are in need of pure country music from a living legend!

Last week we included a bonus video of Jessie the Yodeling Cowgirl. No beloved Pixar characters are included this week, but hopefully Tammy Wynette’s guest appearance with The KLF in the hit music video, “Justified & Ancient,” will suffice:

 

Chatham County Line Say Goodbye to Bluegrass, ‘Hiyo’ to Synth-grass

Posted on by Justin Hiltner

For nearly a quarter century, North Carolina-based Chatham County Line have pushed the boundaries of American roots music, but with their new album, Hiyo, they’ve finally knocked them down.

Released January 26, the album contains some of the band’s most far-flung soundscapes to date, as they introduce synths, drums, and other sonic elements to their repertoire for the first time ever. The resulting creations sound more like synth-grass than bluegrass, with everything from drum machines to stretched out harmonicas, harmoniums, and other oddities guiding the way. According to guitarist, vocalist, songwriter and founding member Dave Wilson, the drastic shift in direction stems in part from the departure of banjo player Chandler Holt, who stepped away from the band following 2020’s Strange Fascination to spend more time with family.

“We listen to all kinds of music so I wanted to make an album that reflected that,” Wilson tells BGS. “We knew when Chandler left that we didn’t want to just do the same thing we’d always done with a different person on banjo. That’s not how artists grow in the world. You instead look at something as a springboard for change, which is exactly what we did in moving toward a sound that more closely resembles the music we enjoy playing when nobody’s watching.”

The experimentation on Hiyo was further encouraged by its producer, Rachael Moore, who the band met during their time portraying George Jones’ backing band on the Showtime series, George & Tammy. Both the opportunity to be a part of that show — which manifested itself through a friend of a friend — and meeting Moore were complete happenstance, with the latter seeing the two parties build an instant rapport.

“Anybody that works in the studio with T. Bone Burnett that many times and has been a part of records like [Robert Plant & Alison Krauss’ Raise the Roof] is alright by me,” praises Wilson. “That’s the kind of music I listen to, so us making that connection to Rachael made us realize how hard a worker she is and how much she understood the sound we were going for. We knew then she was who we wanted to record our next album with.”

Speaking with BGS from his home near Raleigh, Wilson further touched on the band’s connection to George & Tammy, the similarities between the recording process and being on a film set, Phoebe Bridgers’ influence on one of Hiyo’s songs and more.

Who are some of the bands you’ve been listening to that helped inspire the sonic shift of Hiyo?

Dave Wilson: That last Sarah Jarosz record really blew me away. She’s just a phenom. There’s also two radio stations that I listened to religiously throughout the writing process for this album. Whenever I’m messing around with a guitar or building a tube amp in my basement I listen to the radio, and one of the stations I tune into is called “That Station” here in Raleigh. They play everything from us to Mipso – and a bunch of other local acts – in addition to bigger Americana artists making waves. That’s where I heard the Sarah Jarosz stuff.

Being tuned into what people are doing today is very important to me, because I’m a part of this too. If I’m asking people to listen to me instead of Led Zeppelin then I need to listen to Sarah Jarosz instead of Led Zeppelin, because she’s a living, breathing artist that deserves that respect. I take a lot of joy out of not only buying modern albums, but listening to radio that supports those artists as well.

On the flip side, I love WWOZ 90.7 FM in New Orleans. That’s on constantly and is full of crazy, disparate sounds, old songs, funny blues stuff and more. I never get bored of DJ Black Mold down there.

How did the rapport working with Rachael Moore on George & Tammy translate to the studio with these songs?

I’ve listened to a million records and I really wanted this one to sound like the ones in my head. In the studio we tracked three or four songs per day, then at night I’d lay in bed in disbelief at the way the music sounded better than I had ever imagined us doing. We demoed the songs, so we had an idea of what it was going to sound like, but with the additions of [Jamie Dick and John Mailander] there was a huge leap forward that outpaced my wildest imagination. I’m so glad we were able to capture that, and it wouldn’t have happened without Rachael’s knowledge and connections.

Did you notice any similarities between your experience recording this album and time on set for George & Tammy?

It was really about seeing how hard all these people work, plus the whole concept of down time vs. on time, where you have to deliver an emotional performance before sitting around for 20 minutes as the cameras get moved around before jumping right back into your role like you didn’t miss a beat. It shows you that that is the job. It’s more about sitting around mentally preparing yourself and managing your emotions between those two extremes.

That rubbed off, because in the studio it’s a lot like that, too. In most cases the songs are written long before you go to record them, so when the time comes to get in front of the microphone you’ve got to deliver it with an intensity like it’s still brand new. That’s how George Jones delivered a vocal. He left no doubt that he was the character in his songs, not just the person singing them. That’s the approach we’re trying to take so we can deliver the goods when it matters most.

One of my favorite songs on Hiyo is “Heaven,” which I understand is somewhat inspired by Phoebe Bridgers, of all people. How’d that come about?

I live about three hours from Charlotte, which is where I grew up. My father, who’s in his early 90s, started going through some Alzheimer’s stuff during COVID that had me driving back and forth often to take care of him with my mom. During those trips I got to listening to Phoebe Bridgers to the point I’d have one [album] on repeat each way of the drive. I really dig her style of writing and think some of that influence rubbed off when piecing together “Heaven.”

The song was actually more of a country shuffle in the beginning, so in the weeks prior going to the studio I got my drum machine out of the basement to make some demos for Jamie, so he’d have a template of it to reference. One day I decided to try the Fender VI on it, hit the drum machine, and got playing. Something about those sonic elements, how the words came out and the harmonica completely shifted my perspective of it.

That’s another way we approached this record when we added a drummer. We went back through our catalog and redid a bunch of old songs entirely different as if we were covering ourselves. So with this album, I approached it as if I were covering these songs and how we could change them up, because my favorite cover songs are completely different from the originals except for the story and melody.

You mentioned earlier the influence of New Orleans’ WWOZ on this record and I feel like no song better embodies that than “B S R.” Would you agree with that assessment?

It was a huge part of that song. I actually also play banjo on it in open G tuning. One day I also tuned my Stratocaster to it and began playing the opening riff, which isn’t necessarily what the song is built around, but did help it to pop when we first brought it to the studio. Since then, I began playing Stratocaster in open G with super heavy, flat line strings on it and it’s become one of our favorite songs to play.

I also have family in Mississippi and my mom’s from Alexandria, Louisiana, so I traveled there a lot as a kid and have a general knowledge of the area. To be honest, New Orleans is the coolest city in America. It’s the one that’s got soul. There’s other towns with soul, but none that can match New Orleans. There’s live music in literally 40 places every night!

I’m also fond of the change of pace provided by the instrumental “Under the Willow Tree.” How does your approach change when writing songs with lyrics vs. composing an instrumental piece like this one?

I think some songs just lend themselves to having a story told over them and some, instrumentally, can tell a story from their melody alone. When Chandler left the band it was a sign to me to up my game and dig in a little harder, because until then I’d deferred to banjo and mandolin for most of the solos and heavy lifting. I’m a huge fan of Leo Kottke and other guitar virtuosos, so “Under the Willow Tree” is my homage to players like him.

Despite not being an instrumental, another song that gives me the same feel of “Under the Willow Tree” is “Stone,” both for the wisdom it imparts and its ballad-like feel. What was the motivation behind it?

That is the one song that I wrote during the pandemic. It was informed by all of the protests that were going on and the idea that when it comes down to it, you have the ability to change not only yourself, but you can change those around you with whatever power you have at hand. That can come from a deep conversation and from exchange of ideas and respect for the other person’s opinion, but in this case it comes from our music.

Music has a way of bringing people together in a way that few other things can match — just ask Taylor Swift fans! At the end of the day, we’re all gonna be a piece of dirt that a tree grows out of, so just relax. “Stone” was born out of a simple riff and that idea questioning what is permanent in this world, because all want something positive to persevere when you’re done and your story is getting told.

One thing that I regret about the advent of recorded music is the families that used to sit around, everyone playing an instrument and singing. There’s a therapy in that that went long overlooked. It’s just really positive and healthy for everyone included to sing a bit and let the world go for a minute.

Photo Credit: York Wilson

BGS 5+5: Lonesome Ace Stringband

Posted on by Justin Hiltner

Artist: Lonesome Ace Stringband
Hometown: Toronto, Ontario, Canada
Latest Album: Try to Make it Fly

(Editor’s Note: Answers provided by Lonesome Ace Stringband banjoist Chris Coole.)

Which artist has influenced you the most … and how?

Although I think the answer for each of us individually would be different, I think the most obvious single influence on us as an ensemble would be John Hartford. Specifically, the last several albums he made with the “John Hartford Stringband” (which featured Bob Carlin and Mike Compton, among others). Their approach to playing old-time fiddle tunes, especially on the albums Wild Hog In the Red Brush and Speed of the Old Long Bow, was based on a highly improvised and reimagined way of playing backup that Hartford called “Windows.” Although it wasn’t a conscious decision, and we don’t follow the approach to the letter, I think the spirit of those albums really influenced the way we play and perform old-time music, especially (instrumental) fiddle tunes.

What other art forms — literature, film, dance, painting, etc. — inform your music?

As a band, I think the art form outside of music that has had the biggest impact is the crank (prank) phone call. For years we’ve been listening to the Jerky Boys. We are old enough to remember the late ’80s and early ’90s when underground Jerky Boys cassette tapes were passed around organically and treasured by all who were lucky enough to possess them. About five years ago, the guys from The Henhouse Prowlers introduced us to Longmont Potion Castle, who has been anonymously releasing psychedelic crank calls since the ’80s (he’s still at it). You might think I’m being tongue in cheek when I say that these influence us as a band, but the attention to detail – especially in regard to language – and the level of improvisation are both relatable to music and inspiring. Most importantly though, it’s a great reminder that we live in a crazy world, and it’s best not to take yourself or anyone else too seriously.

What rituals do you have, either in the studio or before a show?

We like to get our heart rates up before a show if possible and maybe a bit of stretching. This often involves us having an aerobics dance party to ’80s pop and new wave. “Betty Davis Eyes” by Kim Carnes is a favorite, as is “Dance Hall Days” by Wang Chung. [John] Showman favours doing some version of the “Mountain Climber” while Max [Heineman] and I are usually doing jumping jacks, dancing on the spot, or some sort of hippie clogging. Seeing three middle-aged men dancing around in the green room to The Pretenders or Blondie seems to warm the hearts of promoters and venue staff and there are probably bootlegged videos of us doing it circulating around.

If you had to write a mission statement for your career, what would it be?

The title of our new album is Try to Make it Fly. That is a line from one of the songs called “Sweeter Sound.” I’d say that song encapsulates what our mission as a band is. We are all in our 50s and have been playing music professionally (mostly full time) since we were teenagers. That song is about not giving up, even when everything might seem to be pushing you in the other direction. It’s about keeping sight of what’s important – community, friends, family, art – and letting the quality of those things in your life be the gauge of your success. With where we are in our lives and careers, that seems to be the only way forward.

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

There’s a song on the new album called “Smoke on the Shoulder” which is basically a recipe for smoking pork shoulder. We all love to cook and appreciate good food. We rarely miss a chance to stop at a good BBQ joint when tour routing allows. With this in mind, I’m going to say the food would be smoked brisket and pulled pork with sides of coleslaw, beans, and macaroni. The musical accompaniment to this meal would be provided by, none other than, George Jones.

Photo Credit: Joel Varjassy 

LISTEN: Alyssa & Wayne Brewer, “Golden Ring”

Posted on by Justin Hiltner
Artist: Alyssa & Wayne Brewer
Hometown: Louisville, Kentucky
Song: “Golden Ring”
Album: Alyssa and Wayne Sing George and Tammy
Release Date: July 14, 2023
Label: SGM (Stretch Grass Music) Records
In Their Words: “Collectively, ‘Golden Ring’ is our favorite George & Tammy duet that we’ve loved singing together through the years. That made it a very fitting choice for the first single with it also being their biggest #1 hit song and most identifiable duet! We are so proud to have included it on our debut album. If that wasn’t already a dream come true, we recently had the pleasure of meeting one of the gentleman, Rafe Van Hoy, that wrote this song at one of our performances in Nashville, TN. We hope you enjoy it and that it transports you into country music’s euphoric golden era as it does us every time that we are blessed to perform it together.” – Alyssa & Wayne Brewer
“I love Alyssa and Wayne Brewer’s new recording of ‘Golden Ring!’ So proud to have this wonderful couple put their golden touch to my song. A lot of people have done different versions for sure, but theirs is a great new and fresh take that also retains the classic elements with absolutely awesome vocal performances. Not an easy challenge to live up to the originals for sure, but they nailed it!” – Rafe Van Hoy, “Golden Ring” songwriter

Photo Credit: Katie Kauss

MIXTAPE: Staci Griesbach’s Great American Songbook of Country Music

Posted on by Editor

The Great American Songbook of country music is a vast terrain to cherish and celebrate. So vast, in fact, that to narrow it down into one playlist of favorite “picks” is an incredible challenge! That said, I’m sharing here a selection of songs that are some of my all-time favorite lyrics and melodies. (The kind of songs you’d take with you to a desert island.) When you look through this list, it is no doubt that you’ll agree: each one of these songs rightly deserves its space in the pages of 20th century American music history for the mark the songwriters and the musical icons performing them have made. The generations these songs have touched (and hopefully will continue to touch)… the audiences moved by performances, in some cases to tears… all from the impact of a single song. Amazing!

As I hope to do with my Songbook series of recordings, my artistic path honors these songwriters and musical icons in reimagining these songs in a new way, offering an inspired interpretation of some of these classic songs (as you’ll see below). I hope you enjoy a slice of what I like to call “My American Songbook.” — Staci Griesbach

Dolly Parton – “Coat of Many Colors”

Dolly Parton’s “Coat of Many Colors” celebrates its 50th anniversary in 2021, and in my mind, there may be no more perfect storytelling song with a purpose in all of country music. Through the lyrics, Dolly approaches some important underlying themes in her message with this song. From humble beginnings to the love of a mother to encouraging self-talk and faith to the discussion of bullying, this song is so inspiring no matter where you live or what your upbringing was like. Coupled with her incredible human compassion and all she does with her celebrity to make the world a better place, Parton continues to be awesomely inspiring. For my interpretation, we played up the whimsical nature with the Joseph and the Amazing Technicolor Dreamcoat reference to also celebrate Dolly’s immense talent in the Broadway space. Fun fact: I was once “Narrator” in the musical production, so there’s a special sort of kismet connection!

Willie Nelson – “Blue Eyes Crying in the Rain”

When a song is recorded by Hank Williams, Roy Acuff, Willie Nelson, and probably hundreds of other artists, you may wish your name was songwriter and country music legend Fred Rose. Willie Nelson’s voice and this song pair so well for me. It’s his renditions — especially the live acoustic ones where he brings the tempo down — that are my favorite.

Patsy Cline – “Crazy”

If you’re going to do a playlist about country music standards, then this one has got to be on the list and perhaps top the list. As the most-played jukebox hit in history, the combination of Willie Nelson’s pen and Patsy Cline’s voice makes for a combination that never gets old.

Merle Haggard – “That’s the Way Love Goes”

Merle Haggard could sing the phone book to me, and I’d fall in love. This classic Haggard tune shows off some of his trademark moves, hitting the low notes with a sense of natural charm that could arguably make any gal swoon. His influence from Lefty Frizzell, who penned the song and had a strong arm in shaping many of country music’s early male voices in terms of style, is clear.

Anne Murray – “Could I Have This Dance”

I’m a sucker for a country waltz and the romantic in me gets caught up in this lyric every time I hear it. While the vocal is more modest in range and dynamic, it’s the sweetness of the tune that makes it feel like you’ve just put on your favorite winter sweater and nestled up to the fireplace.

George Jones – “He Stopped Loving Her Today”

Classified by many as the greatest country song of all time, it’s an exemplary tale of great songwriting paired with incredible talent. The song, the lyrics, and the vocal performance George Jones gives in this tear-stained ballad can’t possibly leave a dry eye in the room, no matter how many times you’ve heard the recording! This was the first song we tackled for my album celebrating Possum’s 90th birthday, and I was thrilled when songwriter Bobby Braddock shared his praise. In my cover version, arranger Jeremy Siskind arguably created a stage for this song to really sit in a spotlight it has never been in before.

Ernest Tubb – “Waltz Across Texas”

Listening to this song play as a young girl, I used to dream of being swept off my feet in love someday, filled with the imagery of waltzing across a big ballroom with someone serenading me. When Ernest Tubb calls out his band members, it feels like you’re right in the room listening as they’re playing. I’ve always enjoyed his iconic characteristics in his sense of showmanship.

Patsy Cline – “Walkin’ After Midnight”

Several songs in Patsy Cline’s catalog can be called standards in country music and this is one of them. A favorite for many girl singers who adore her, Patsy’s swagger comes through in her bluesy vocal performance adding just the right touch of cry to connect us with her desire for finding love. For my cover version, also from arranger and pianist Jeremy Siskind, the song offers more of a meditative groove creating a moodiness that implores a sense of searching matching the lyrics with a more internal reflection.

Ray Price -–”Make the World Go Away”

The great Hank Cochran had a way with songwriting and that’s no secret. One of my favorite songwriters in Nashville history. His songs create a lasting impression, especially this one recorded by Eddy Arnold, Elvis Presley, Martina McBride, and the late great Ray Price.

Tammy Wynette – “‘Til I Can Make it On My Own”

When you put Tammy Wynette, George Richie, and Billy Sherrill in a room, you know a hit song will find its way out of the door. Wynette’s performance is simply stunning here, and this song really showcases her dynamic range as a vocalist. I also really enjoy Martina McBride’s cover on her standards tribute album.

Merle Haggard – “Today I Started Loving You Again”

The poetic nature of Merle Haggard’s catalog cannot be questioned, and while he’s known as the poet of the common man, it’s his love songs that have me right in the palm of his hand. Penned along with Bonnie Owens, this song might top the Haggard catalog for me.

Dolly Parton – “Here You Come Again”

Only recently I became aware that this song was written by the great Cynthia Weil and Barry Mann. I’ve always associated the song with Dolly, and with her incredible songwriting prowess, it was a natural assumption. This is definitely one of my favorite songs in Dolly’s catalog. For my cover, which is the flip side of my Digital 45 with “Coat of Many Colors,” Jeremy Siskind and I explored a ballad context to really bring out the emotional quality of the lyrics and the feelings that bubble up when you’re so in love with someone and forget for a moment that they’re not good for you.

Hank Williams – “Cold, Cold Heart

There’s a lure around Hank Williams like no other in country music. And it’s no surprise when you listen to Williams’ catalog why George Jones and so many others looked up to and tried to emulate Williams at the beginning of their careers. A true country music standard for its number of covers (including Tony Bennett), I’m a huge fan of Norah Jones’ performance.

Patsy Cline – “Lonely Street”

From Kitty Wells, Melba Montgomery, and Emmylou Harris to Ray Price, George Jones, and Tammy Wynette, this song has been recorded many times over. While Andy Williams’ version might have hit the highest notes on Billboard’s charts, it’s Patsy Cline’s heartache-filled performance that is my favorite version. There were a few of her classic hits that didn’t make my tribute album and this one might top that list.

Kris Kristofferson – “Help Me Make it Through the Night”

The stories of Kris Kristofferson and Bill Withers have always touched me in the fact that both of them were working everyday jobs (sweeping floors and working at an airplane parts factory respectively) when their demos catapulted them into the spotlight. I’ve seen Mr. Kristofferson perform this live a few times and my heart melts every time.

Photo credit: Kim Thiel

MIXTAPE: Dori Freeman’s Waltzes for Dreamers and Losers in Love

Posted on by Editor

Waltzes are my favorite. Can’t explain why, but they touch me in a way that other songs don’t. In honor of my album, Ten Thousand Roses, and its title track, here are twelve of my favorite waltzes — some by dear friends and some by long-gone greats. — Dori Freeman

Erin Rae – “June Bug”

Erin is one of my favorite artists — I just love her voice and the style of her records. This song is so simple (my favorite kind of song), but so sweet and effective lyrically and in the arrangement. The last minute or so of the melody being played on piano is particularly lovely.

Kacy & Clayton – “Down at the Dance Hall”

Kacy and Clayton are dear personal friends and some of the most genuine and truly original people I’ve ever met. This is such a classic-sounding waltz it’s hard to believe it was written only a few years ago. Kacy is also one of my favorite singers *of all time.*

Ric Robertson – “Julie”

Ric is another good friend of mine and easily one of the best songwriters of the time. He writes with a vulnerability and honesty that most people are afraid to share. I also had the privilege of singing harmony on this lovely track with my friend Gina Leslie.

Teddy Thompson – “Over and Over”

I have to include a Teddy song on this playlist since he’s been such a big part of my own music. He produced my first three records and continues to be such a kindred spirit in music making. This song has such a heartbreaking honesty lyrically and a truly haunting arrangement.

Iris Dement – “Sweet Is the Melody”

Iris has one of the most instantly recognizable and unique voices in music. I had this album on cassette tape and used to listen to it driving around in my old Subaru when I was like 19. Such a tender song.

John Hartford/ Tony Rice/ Vassar Clements – “Heavenly Sunlight”

My husband introduced this song to me a few years ago and we’ve been performing it at shows ever since. I never get tired of singing this beautiful song and this is my all-time favorite version. A good gospel waltz is hard to beat.

Linda Ronstadt/ Dolly Parton/ Emmylou Harris – “Hobo’s Meditation”

This song is twofold in its importance to me. First, these are three of the most talented singers ever singing together on one album. All three of these women have had a huge influence on me individually and I think you’d be hard-pressed to find another country singer who wouldn’t say the same. This is also a song that my dad’s band performed and recorded when I was a child. I can vividly remember sitting in the audience listening to them play this song.

The Louvin Brothers – “Blue”

If you want a master class in harmony singing, the Louvin Brothers are it. I love to listen to them dance around each other when they sing, jumping all over the place with grace and finesse. This waltz is a classic heartbreaker with lots of tender swooning falsetto.

George Jones – “Don’t Stop the Music”

Another one of our greatest singers, George Jones. This is one of my husband’s favorite waltzes and makes the cut for me, too. That jump up to the sixth he sings right in the opening gets me every time.

Rufus Wainwright – “Sally Ann”

Most people familiar with my music know that Rufus Wainwright’s music is very dear to my heart. He has a couple beautiful waltzes to choose from, but I included this one from his first record. A weird thing to note perhaps, but I love that you can hear each breath Rufus takes before singing on his recordings.

Lee Ann Womack – “Prelude: Fly”

This album was on heavy rotation when I met my husband in 2016 so when I hear this song I’m reminded of how sweet a time that was. It’s got a special place in my heart. And Lee Ann is one of those singers who makes me cry every time.

Richard Thompson – “Waltzing’s for Dreamers”

My daughter used to like this song when she was littler so that makes it an especially sweet one for me. It has one of my favorite lines — “waltzing’s for dreamers and losers in love.” So funny, so sad, so true.

Photo credit: Kristen Crigger

MIXTAPE: Jeremy Garrett’s Melting Pot of Influential Music

Posted on by Editor

My mind has been concentrated on making music for my latest record, Wanderer’s Compass. I let Wanderer’s Compass be a collection of as many influences in music I’ve had as possible. I’ve been playing long enough that I used to learn my fiddle parts from an LP and move the needle back to catch the solo parts. Then of course over time, with the advent of the internet, the influence highway, so to speak, became much wider. I’ve always thought it is hard to put music in a box, since it is art, even though I essentially understand the reason for genres. To me the whole point of art is to let all of your influences and experiences be the palette in which to create your vision. This playlist is really fun for me to listen to, and I hope you enjoy it as well. — Jeremy Garrett

Dire Straits – “Where Do You Think You’re Going?”

This song was off a record that I heard early on in my life and the soul that Mark Knopfler brought to this song continues to influence me to this day.

Larry Sparks – “Blue Virginia Blues”

Larry is a master of song delivery, selection, singing, and incredibly soulful guitar playing that is old school, yet crosses any boundaries from that world into the new because art like that knows no bounds.

Tony Rice – “Urge for Going”

From the album Native American, this track is the epitome of how to produce a song to pull all of the essence from it for the listener to hear. Any bluegrass musician can tell you that Tony Rice is the man to listen to for song production, not to mention his unmatched guitar skills.

Jeremy Garrett – “Wishing Well”

“Wishing Well” is an original and on this track I stretch way out on the fiddle for a jam.

David Grisman – “Fish Scale”

David is one of the best and truest musicians of our time. This is a one-of-a-kind song from a one-of-a-kind artist, David Grisman. I particularly love Tony Rice’s playing on this track.

The Stanley Brothers – “The Lonesome River”

This is one of history’s most eerie and interesting sounding bluegrass duos. Their songs and the way they sing them are my personal favorite sounds of the traditional bluegrass era.

Strength in Numbers – “Blue Men of the Sahara”

This ensemble was one of the most creative in acoustic music. This particular song showcases what happens when you marry music stylings from around the globe, and Mark O’Connor rips a fiddle like nobody’s business.

Merle Haggard and Willie Nelson – “Pancho and Lefty”

This cut is pure magic if you ask me. I love everything about it, from the wacky-sounding synth stuff to the magic that Haggard brings when he comes in for his verse. Sends chills up my spine.

George Jones – “Choices”

There may not be any better country singing than this right here.

Jimi Hendrix – “Red House”

There is perhaps no one more inspiring to a musician who wants to tap into soul and vibe. Hendrix is the one who paved the way for all of us in that regard.

Deep Forest – “Sing with the Birds”

This music was an indicator for me at an early age that I loved world music and the technology that continues to evolve to help create some of it. This is programming at its finest and it’s flowing with creativity.

Jeremy Garrett – “Nevermind”

This is a Dennis Lloyd cover that I love to perform. Dennis is an Israeli pop artist. It’s a culmination of my bluegrass chops on fiddle, guitar, mandolin, along with effects, experimentation, and programmed beats.

Photo credit: J.Mimna Photography

With New Music and Rock ‘n’ Roll Spirit, Jakob Dylan Revives The Wallflowers

Posted on by Editor

Dedicated fans of the Wallflowers weren’t the only ones eager to hear new music from Jakob Dylan. Leading into the sessions for the new album, Exit Wounds, the band’s front man showed up with a batch of new material that even producer Butch Walker hadn’t heard yet.

“I don’t usually play my stuff before I get in the studio,” Dylan tells BGS. “If you have some rehearsals, yeah, you’ll work it up, but that’s one of the most exciting things for me. It’s like, I’ve got a secret here. I can’t wait to show up and show it to people I’m going to play with. I can’t wait to see the expressions on people’s faces — and I’m usually right. When something lights me up, it usually lights up other people.”

So far, the music from Exit Wounds has already been lighting up the late-night circuit. Next up is a national tour that begins in August. A few days before the album release, Dylan called in to BGS to talk about singing with Shelby Lynne, the music documentary Echo in the Canyon (for which he served as executive producer), and why he’s a better singer now, 25 years after “One Headlight” was the band’s inescapable radio smash.

BGS: What do you remember about the vibe in the studio as this record was coming together?

Dylan: There are all kinds of different situations that can birth a good record. I think starting out, you believe that things are supposed to be difficult and maybe even combative in the studio to get good things out of everybody. But I can confirm that I don’t think that is true. I don’t know that I ever thought it was true. On this record, the energy and the vibe was good from Day One and it persisted throughout. It was one of those things of having simultaneously what I considered a joy-making record but feeling like we were stretching out and doing great things.

You have a refreshed lineup in the band, too. When you are auditioning for the band, what are you listening for?

Well, I’m not sure that it’s a new lineup. It never has been a lineup, to be honest. The band made its first record in 1992 and that disintegrated pretty quickly by the time we got to Bringing Down the Horse [their 1996 breakout album]. That was already a new group of people and it continued on that path ever since. It was always designed to be my group. I always knew that was going to be the case. It’s been an evolution since then. There hasn’t been one lineup of this group that’s made two records, so it just continues on in that fashion.

But what am I looking for in players? Well, it’s not technique. It’s not technical abilities. I mean, I play rock ‘n’ roll music, [Laughs] so there’s just a little bit of room for that. But you’re just looking for the spirit in people, you know? A lot of people play great. There’s loads and loads of good musicians out there. I’ve worked with lots of them and we don’t have chemistry together sometimes. That’s disappointing, but first and foremost you look for people who listen to the same kind of music as you do, who have the same kind of shorthand in conversation. Then it’s really not that complicated afterwards, once you get that together.

It surprised me hearing Shelby Lynne come in on that first track, “Maybe Your Heart’s Not in It No More.” And she makes a few more appearances on the album, too. What does her voice bring out in this record?

I’m really grateful that she almost became a member of the group on the record. Butch Walker and I thought of her singing on the song, “Darlin’ Hold On.” But everything felt so good when she got there, and honestly, she finished that song in about 15 minutes. We said, “Well, you’re here. We’re just going to keep throwing songs at you if you’re OK with that.” And it just turned into, like, wow, she kind of became a member of the group, which I’m really glad about. I’m not the biggest fan on guest vocalists, necessarily. I mean, it is good at times but if you can get that person to be singing throughout, they’re part of the sound and the blend. I’m glad we were able to work that out with Shelby.

Let’s talk about songwriting a little bit. When you go to write these songs, is it just an acoustic guitar and a notebook? What does that look like as you’re writing?

Yeah, just like you said. The beginnings of it come from anywhere but the good ones come when you least expect it. When you actually make the effort to sit down write a song, that can be very frustrating and disappointing. But the good ones, you could be in your car or walking your dog. You don’t know. It comes from a conversation you heard and you can tell that is the germ of a song and it will nag at you until you can figure it out. And usually the best ones do come at once. I’ve had plenty of pages without lyrics without melody and it’s very hard to find places for those. Words themselves have melody in them — they have inherent melody. That’s why it’s best when they follow a simple chord pattern. When you’re younger, you’re hung up on trying to find interesting chord structures and patterns, “let’s put a minor here….” At the end of the day, there’s some use for a lot of that but keeping it simple and shooting straight is usually your best option.

Would you consider yourself to be influenced by country music?

For sure. I think we’re all a little confused about what country music is right now — and for a while now. When you say country music now, we all think of different things. George Jones for sure. … Not unlike Shelby, that voice is just special. They gave him all the awards for being the singer that he was, and the records were great, but I have to say I got to see him play one time, out here in L.A., and I was knocked off my feet. A lot of people modulate on that last verse, but I watched him take a breath and move it up a whole step in the middle of the song, which I was unfamiliar with. I thought it was pretty cool. You know, I can’t define to you what country music is. Is it hillbilly music? Is it the Louvin Brothers? I don’t really know what that term means so much anymore. I don’t know that it’s what we see on TV so much. But I tip my hat to everybody who’s doing it, either way.

When the Wallflowers were right out of the gate, vinyl wasn’t really around anymore, but this new record is coming out on vinyl. Are you a vinyl collector?

Yeah, I am. I’ve got a good turntable and I’ve got a tube amp, and always have. You’re right, though. That’s a complicated market. What gram of vinyl — there’s a lot of marketing going on. But I do like the act of doing it, as we all say. There’s a different mindset when you choose that record and put it on. But at the end of the day, as far as the quality of music, I just want to hear the music. Yeah, vinyl does sound the best, but I’ll listen to MP3s and I’ll listen to YouTube.

But there is something special about vinyl. When we started out, they weren’t making vinyl. They were making CDs with that big cardboard piece. Remember that? I think a couple of our records were on cassettes and that’s a long time ago. I just want to hear the song at the end of the day and I’m highly suspicious of the ways they keep making us buy the same music we have over and over again. [Laughs]

It’s clear you have a reverence for music from that vinyl era when you watch Echo in the Canyon. Looking back, what surprised you the most about putting that movie together?

I didn’t know documentaries took so long, I’ll tell you that. They’re a lot of work! But it’s interesting because you don’t have a script, you just have an idea. As you’re interviewing people, they say something interesting and you find yourself going down another path. It unfolds as you go. That’s exciting and frustrating at the same time. Some things don’t make the cut because they don’t fit the story that you were developing. Not that I didn’t have a fond appreciation for people putting films together, but it was good to see how that works and how it functions.

It was a good experience and obviously I got to talk to a lot of people. Some I knew a bit, some I knew a lot, and some I didn’t know at all. But it was a good opportunity to step out my own shoes and sit on the other side of the glass like you guys do. Sometimes it was a little daunting. I didn’t want anybody to be uncomfortable and regret showing up. That was the main mission, to be honest, but there wasn’t anybody that we tried to get involved that wasn’t interested. At the time, you’re just piecing it together and you’re appreciative that it’s going well. But I look at it now and I think it was pretty remarkable that we were able to get all those people together.

I think the melodies are a big reason those songs will live on. After spending so much time with the music of that era, did that influence the way you wrote for this record?

It just reconfirmed what I already knew: Don’t go to the studio if you don’t have good songs. It’s simple. That is why those records and those songs are so everlasting. They’ve got good bones and everything’s together. … They’re just great songs. They’re very pliable. I got to explore being a singer [in the film], which I hadn’t really done before. I sing my songs great because I wrote ‘em. I don’t consider my voice an instrument but I had to learn to do that with this big chunk of songs that were mostly done by really great singers. I discovered that I could do more with my voice than I imagined.

Your voice still sounds great, though. Twenty-five years or more into this, you still sound like you.

I appreciate that. I think I sound like myself, but I think I’m a better singer than I was because of Echo. I hear some of my earlier stuff and I can tell how limited I must have been. I can hear myself avoiding notes that I probably couldn’t get to, and it’s interesting to hear that. I can do more things now. But I am aware that people, after doing it quite a while, do start sounding quite different, whether it’s stylistic choices or just age. Sometimes for the better and often for the worse. But I don’t think I’m far enough along yet where you can say, “He doesn’t sound like he used to.” Maybe eventually. [Laughs] I try to treat my voice well and it’s mostly always been there for me. I’ve been very fortunate. I can’t say I treat it as well as I could but it hasn’t failed me yet.

Photo credit: Andrew Slater