Artist:Cordovas Hometown: Nashville, Tennessee Album:Destiny Hotel
Answers by Joe Firstman, Toby Weaver, and Lucca Soria of Cordovas
What was the first moment that you knew you wanted to be a musician?
I always felt like I was an artist or working towards being one. So all I had to do was do it, not “become it.” — JF
I was around 7-8 years old and swinging on the swing set in elementary school. I was thinking about a song that I liked and at that time I had the feelings that I would like to play that song for people. I watched my dad and his friends play music as a child but it was at that moment I decided I would like to get a guitar and learn how to play. — TW
Feeling that feeling of “we’re doing something” as a kid in my friend’s basement trying to play some songs together. — LS
Which elements of nature do you spend the most time with and how do those impact your work?
We spend a lot of time in the desert in Baja. Most of our mornings at the beach waiting for the surf. Checking the waves. Feelin’ the desert. Waiting for songs. Sunsets are also magnificent. There’s a lot of power and the light is changing. — JF
Which artist has influenced you the most … and how?
As far as living artists go, it would be Roy Bookbinder as he has personally learned from the great masters of the blues and has his own interpretation of their works as he performs them and written songs in that style. I got to meet Roy at a guitar clinic in 1998 and it was very inspiring. — TW
Bob Dylan and Grateful Dead. Hearing how Dylan writes made me want to emulate that. The Dead are like lifelong teachers, I learn something about playing music every time I listen to them. – LS
How often do you hide behind a character in a song or use “you” when it’s actually “me”?
This is a writing technique. When we insert the word “I” into the sentence, the line, and the composition takes on an entirely new feel and tone. To make things universal often times we use the term “you” when we mean “I,” but I found that usually these are interchangeable in that the story would not suffer either way we did it. It could be a subtle thing, but being aware of the power of “I” is important. There used to be this drunk acting coach at the bar I went to in Hollywood, La Poubelle. He would always try to get everyone to have a conversation without using the word I. — JF
What other art forms — literature, film, dance, painting, etc. — inform your music?
Lately, I have been reading spiritual guides and literature that feeds the mind and soul as well as biographies and autobiographies. The concepts outlined in these works have contributed to the lyrics I have written for our Destiny Hotel album, specifically the ego. — TW
As a teenager I was shown the work of Whitman and Ginsberg by a great teacher who explained that vein of American poetry. That exposure definitely fueled the writer fire. — LS
Although in-person plans for Americanafest are on hold this year, fans of roots music can still take part in celebrating the music, no matter where they are.
From September 16th to the 18th, Thriving Roots: A Virtual Community Music Conference will host intimate conversations between pairings you won’t find anywhere else.
In August, the Americana Music Association Foundation (AMAF) revealed programming featuring director Judd Apatow in conversation with The Avett Brothers; Bob Weir with Oteil Burbridge; Béla Fleck with Sierra Hull; and Sarah Jarosz with John Leventhal and Chris Thile. The latest programming information also includes talks on empowering today’s creatives, developing streaming strategies and musicians in recovery.
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Apatow will sit down with The Avett Brothers to discuss the intersection of film and music, as well as the fine line between fine art and commerce. In 2017, Apatow co-directed the band’s critically acclaimed documentary, May It Last: A Portrait of The Avett Brothers. Since then, The Avett Brothers have released their new album, The Third Gleam.
The music that fans know and love from their favorite artists simply wouldn’t exist without the innovative musicians who came before them. Weir will sit down with fellow Dead & Company member Burbridge as they explore the inspirations and influence Black musicians have had on the Grateful Dead.
Now more than ever, musicians continue to push and blur the confines of genres to create the art they want to make. Fleck and Hull will speak to how roots music transcends and connects with a wide range of audiences during “Music Without Boundaries.” When it comes to creating that art in the studio, a producer’s ability to understand an artist’s vision is an integral part of the creative process. Moderated by Thile, Jarosz and Leventhal will delve into the connections forged between the artist and producer evident on her latest project, World on the Ground.
Additional new programming includes “Independent Control: The Power of Collaboration,” an inside look into how Americana industry professionals are empowering their independent artists to retain full creative control and the benefits of assembling a hand-picked team. Moderated by Jessica Nicholls (Metropolitan Groove Merchants), this discussion will include Blair Clark (Brooklyn Basement Records), Maria Ivey (IVPR) and Michelle Szeto (Paquin Entertainment Group).
In the streaming era, an abundance of digital resources can be found at the fingertips of industry and artist professionals, but how does one optimize those helpful tools? Led by Mike Fabio (New West Records), “Building a Streaming Strategy in 2020” rounds up Charles Alexander (Systemic), Margaret Hart (YouTube), Margaret Jacobi Lee (AMFM Management), Laura Ohls (Spotify) and Amy Wright (DittyTV) for a talk on developing real-world strategies that lead to increasing listenership and growing a solid fanbase.
Presented by Promises Behavioral Health, “The Show Must Go On: Musicians in Recovery” will find artists Phil Bogard and Jaime Wyatt in conversation with Shireen Janti (MusiCares) and Shane Ramer (That Sober Guy Podcast) about the road to recovery while offering how to find treatment and how others can take practical steps toward becoming a sober creator.
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Previously announced Thriving Roots programming includes intimate conversations between Brandi Carlile and Yola; Emmylou Harris and Ken Burns; and Jackson Browne and Mavis Staples. Rosanne Cash will bring together Ry Cooder, Angela Davis, Bonnie Raitt and Alice Randall for “Love and Vigilance,” a look at the history of protest music.
Moreover, RIAA Chairman/CEO Mitch Glazier and COO Michele Ballalynte will share an update on the music industry during “Record Setting” while looking at current trends and sharing their outlook. There will also be artist-friendly songwriting workshops and case studies like Mary Gauthier’s “Accessing the Universal in Your Songs: Mercy Now,” Taj Mahal’s “Music Is the Healing Voice” and an artist development breakdown with Black Pumas.
With over 50 panel discussions and more than 40 special events filled with music, Thriving Roots will bring the Americana music community together from across the world for three full days of engaging insight from its top industry professionals and leading artists.
Adding to the slate of artist conversations music fans won’t want to miss is Linda Ronstadt offering a behind-the-scenes look at Linda and the Mockingbirds, a new documentary that chronicles her 2019 journey with Jackson Browne and Mexican-American song and dance troupe Los Cenzontles to her grandfather’s hometown in Mexico, resulting in a tale of immigration, family and music. Moderated by esteemed journalist Randy Lewis, attendees will be able to watch the film screening and hear insight from the musical icon alongside the doc’s producer/director James Keach and Los Cenzontles founder Eugene Rodriguez.
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The Lumineers’ Jeremiah Fraites and Wesley Schultz will sit down with renowned filmmaker M. Night Shyamalan for an engaging discussion on the importance of retaining creative control of your art. In addition, Kathleen Edwards will speak with acclaimed Program Director Rita Houston (WFUV) about her new album Total Freedom, which marks her triumphant return to music after an eight-year hiatus from the business.
The common threads and differences of the Americana and country music worlds will be explored during “Ladies, Your Roots Are Showing,” presented by Change the Conversation. Moderated by CTC co-founder Tracy Gershon with freelance music journalist Marissa Moss, this panel session rounds up Brandy Clark, Tanya Tucker and Lee Ann Womack to share how they’ve been able to successfully navigate both worlds while maintaining their artistic integrity. They’ll also reveal the challenges and memorable moments they’ve experienced during their respective careers.
Reigning Legacy of Americana Award (co-presented by the Americana Music Association and the National Museum of African American Music) recipient Rhiannon Giddens joins NPR’s Ann Powers and the legendary Taj Mahal to discuss the theme of “Music is the Healing Voice.”
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Music buffs should also tune into a special virtual edition of “Songlines Music Meeting,” an Americanafest fan-favorite. Sean Coakley and Leslie Rouffé will once again invite listeners to hear mostly unreleased tunes and score them during the live session, leading to a discussion on how music programmers in various media formats select the songs they feature.
Aside from plenty of educational and networking opportunities, Thriving Roots attendees will have a chance to unwind and recharge with immersive virtual events and lifestyle breaks. Valerie June will walk folks through a guided meditation that explores how to center oneself using ancient teachings. Big Machine Label Group will spotlight The Cadillac Three, Sheryl Crow and Ray Wylie Hubbard with some must-see musical performances.
During “Aw Heck: An Oh Boy Music Break,” join the late John Prine’s own record label Oh Boy Records for a celebration of their talented roster which includes Tré Burt, Arlo McKinley, Dan Reeder and Kelsey Waldon. For “Come Hear NC,” experience the rich music of North Carolina featuring Hiss Golden Messenger, Jim Lauderdale, Mandolin Orange, Steep Canyon Rangers and more.
Pictured above in composite: Top Row (L-R): Judd Apatow, The Avett Brothers, Oteil Burbridge; Middle Row: Béla Fleck, Sierra Hull, Sarah Jarosz; Bottom Row: John Leventhal, Chris Thile, Bob Weir
Artist:Daniel Donato Hometown: Spring Hill, Tennessee, an hour south of Nashville. Latest Album:A Young Man’s Country (August 7, 2020) Personal Nicknames: DD, sometimes.
What was the first moment that you knew you wanted to be a musician?
I was walking by Legend’s Corner, a bar in Nashville with my father. This was the first day I ever busked on the street, and I made $0. The lead singer was taking a break to pass the tip jug. The bass player called me on stage, over the microphone. “You look like you play guitar,” he said. “I try,” I said! I got on stage, plugged in, and played for two songs that were completely improvised. That was it for me. I knew the stage was my soon to be dojo.
What other art forms inform your music?
Podcasts are big for me. Hence, why I started my own “The Lost Highway.” I think podcasts and jam bands aren’t all that different. What you have is complete improvisation with the instrument of language. Improvisation forces honesty but also unique expression out of your skill with said instrument. A moment in time is created by humans that truly could never happen again. It also is OK if this moment lasts a few hours! That sounds a whole lot like the Grateful Dead. Or a Cosmic Country show!
If you had to write a mission statement for your career, what would it be?
DD’s 3 P’s! Patience. Persistence. Positivity. These fuels are essential to keeping things Cosmic.
What’s the toughest time you ever had writing a song?
Songwriting is day one, each time. A perpetual white belt. Because each song is different. Quite literally, each song is the toughest one to write. Performance, content creation, and guitar playing are not like this at all.
What rituals do you have, either in studio or before a show?
I get as calm as possible. I get stoic. Essentially, view yourself outside of being yourself. This gives you a humbling perspective that allows you to see that everyone is quite on the same level. On stage, it is important for me to keep that in mind, so I can steer the wheel in the way that the audience will get the most out of the experience. It is all about the people. The more calm I am, the better the moment will be for the listeners on the other side of the guitar.
Artist:Liz Simmons Hometown: Brattleboro, Vermont Song: “Who Knows Where the Time Goes” Album:Poets Release Date: August 4, 2020 (single) Label: Morgana Music
In Their Words: “I have known Sandy Denny’s ‘Who Knows Where the Time Goes’ (written circa 1967) since I was a teen and I’ve always loved it. It has that elusive poetic appeal in that it manages to say so much with very few words. There’s not much needed to preface it, as it speaks for itself so well in Sandy’s beautiful lyrics. I was raised steeped in the music of the folk revival, roots, and ’60s and ’70s rock ‘n’ roll, so it feels very fitting to have Pete Grant (Grateful Dead, the Incredible String Band) lend his beautiful pedal steel playing to my arrangement of this fittingly timeless song.” — Liz Simmons
Artist:Molly Tuttle Hometown: Palo Alto, California / Nashville, Tennessee Song: “Standing on the Moon” (Feat. Taylor Goldsmith of Dawes) Album:…but i’d rather be with you Release Date: August 28, 2020 Record Label: Compass Records
In Their Words: “I didn’t grow up listening to a lot of Grateful Dead music, but being raised in the San Francisco Bay Area, the Dead was part of the mythology of my family and the area I grew up in (kind of how I imagine people who grew up in Tennessee, where I live now, might feel about Dolly Parton). Our specific family lore was that Jerry Garcia had gone to my high school (Palo Alto High) and my mom’s older sister, my Aunt Titia, knew them and used to take guitar lessons from Bob Weir in Menlo Park. That’s a roundabout way of explaining that this song means so much to me, because it brings me back to my roots. Even though I love Nashville, sometimes I do feel like I’m standing on the moon wishing I were with my friends and family in San Francisco. The line, ‘A lovely view of heaven, but I’d rather be with you’ is my favorite and it’s why I named the album …but I’d rather be with you. Life is messy and imperfect but I’d rather be here in it with all of you!” — Molly Tuttle
“One of the greatest feats as a musician, in my opinion, is taking a Grateful Dead song and creating a version of it that goes beyond the stigmatized identity of a ‘Dead Cover.’ It’s hard to do and takes a lot of courage to make it happen. But Molly reached for that brass ring and then somehow even went beyond it. Her version has given the song new parameters, makes me feel new things, and surpasses any sort of referential quality and becomes Molly’s own song. I’m just happy I got to be one small part of bringing it to life.” — Taylor Goldsmith
One of the last founding fathers of bluegrass, Jesse McReynold’s story is the story of bluegrass — a music that emerged out of the country, into rural schoolhouses, onto rural radio, finding sponsorship along the way, enmeshing itself into the mainstream of American culture.
McReynolds tells the story of his grandfather, who played in the first recorded country music session, talks about being offered a gig with the Stanley Brothers, serving with the armed forces in Korea and singing alongside Charlie Louvin. He relates hunting down record deals and successes with his brother Jim, starting their own label, being sought out by counter cultural icons like the Grateful Dead and The Doors. Now nearing the age of 91, McReynolds spends some time reflecting as well, on his brother Jim’s death, his own struggles with the Opry, and how he feels about his legacy in the music. This is an icon of American music whose story isn’t often told, and we’re honored to play a part.
At age 9, in 1904, she quit school to work as a maid. A song she wrote at 11 became a folk classic. She married at 15. She made her first recording at age 62. And she won her Grammy at age 90.
Even the best novelist would be hard-pressed to create a more remarkable heroine than Elizabeth “Libba” Cotten. From the time she sneaked into her older brother’s room and flipped his banjo over so she could play left-handed, Elizabeth broke rules and boundaries.
Her legacy song, “Freight Train,” written at age 11, is among the most loved in folk music. Her left-handed, finger-picking guitar style — an alternating bass with her index finger and melody played with her thumb — is much emulated. She was immensely talented, creative, and wicked funny. For a great example of her humor, listen to Cathy Fink and Marcy Marxer talk about a chance encounter at the Toronto Folk Festival.
While Elizabeth was raising her daughter, she rarely played outside her home — and only at church. But a chance meeting much later in life led her to become one of the most revered names of the folk revival. While working at a department store, she befriended a frightened little girl who had become separated from her mother. The little girl was Peggy Seeger. Peggy’s mom, Ruth Crawford Seeger, almost immediately invited Elizabeth to work for the family as a domestic.
Ruth was a composer and teacher, her husband Charles created the field of ethnomusicology, but it was Peggy who first heard Elizabeth playing one of the family’s guitars. As a family that studied and documented traditional music, they were delighted to hear the music Elizabeth carried from her North Carolina home. Their son, Mike Seeger, a folklorist and musician, began recording her singing and playing. They released her first album in 1958, when she was 62.
Elizabeth became a vitally important figure in the folk revival, performing at the most acclaimed festivals in North America. Her songs and style frequently were covered by others. Artists in the Skiffle movement recorded and claimed credit for “Freight Train,” a big hit in Great Britain (the Quarrymen, John Lennon’s early band, used to perform it). With the Seeger family’s help, Elizabeth got the copyright in her name.
Her songs have been central to bringing rural southern music to commercial audiences, paving the way for bluegrass as well. Performers as varied as the Grateful Dead and Rhiannon Giddens have recorded her songs, and “Freight Train” is in the repertoire of almost every folk, bluegrass, and rock band on this continent.
It is virtually impossible to summarize Libba Cotten as a person, a musician, or an influence on American music. Her honors are countless. As examples, in 1984, the National Endowment for the Arts declared her a National Heritage Fellow. The Smithsonian Institute declared her a “living treasure.”
Elizabeth performed right up to her death at 94 in 1987. And musicians around the world pay tribute to her daily when they sing “Freight Train.”
In this episode, host Z. Lupetin speaks with Peter Rowan, the affable elder-statesman of roots music, who was there at the crucible beginnings of bluegrass and has joyfully jaunted across a plethora of folk music styles over the course of his five decade-long career.
These days, despite it getting harder for him to get around, he’s still on the road constantly, and you can see him at Telluride Bluegrass Festival, Red Wing Roots, Rockygrass, and wherever young folks and old folks are still gathering around whatever stew folk music is cooking these days. Stick around to the end of the episode to hear Peter set up outside in the sun with his Free Mexican Airforce Band to perform a sweet Tejano tune under the trees.
I love me some driving. Whether it be for touring, or just a hankering to get out there and see some place I’ve never seen, I always enjoy packing up and hitting the pavement. While I do plenty of searching for new tunage, here are a few of my longtime staples you’d likely hear if you were in the passenger seat on a long ride with Stevie. — Stevie Redstone
The Band – “Across the Great Divide”
Nothing quite says road music to me more than The Band. They have so many great ones to travel to, but “Across the Great Divide” sticks out for me.
Paul Simon – “Graceland”
It’s no secret to those who know me that Paul is probably my favorite American songwriter. The Graceland album is a personal fave and the title track always gets me in that happy driving mood.
Allman Brothers Band – “Ain’t Wastin’ Time No More”
I love everything about this song. Lyrics, message, melodies, vocals. It’s all there.
Grateful Dead – “Promised Land”
This Chuck Berry-penned tune covered by another driving music titan of a band, The Grateful Dead, will get your motor runnin’. It’s also quite literally about traveling around the country. See what I did there?
Creedence Clearwater Revival – “I Heard It Through the Grapevine”
Originally written by Barrett Strong and Norman Whitfield of Motown fame, there are many adaptations of this great driving tune, including of course Marvin Gaye’s. I love this CCR version when I’m out there, in part because they really went for it with the jam. Eleven mins of gritty joy.
The Beach Boys – “Here She Comes”
Among my favorite Beach Boys tunes. It has an infectious piano part/groove and the best bridge maybe ever.
The California Honeydrops – “When It Was Wrong”
One of the best and most underappreciated bands of our time. Just listen, mmk?
Crosby, Stills, Nash & Young – “Suite: Judy Blue Eyes”
A pinnacle of songwriting, harmonies, movement, etc. Simply stunning, and it never gets old.
My Morning Jacket – “Evil Urges”
I’m so impressed by Jim James as a solo artist and for his work with My Morning Jacket. This one’s always stuck out for me, but the catalogue of greatness is extensive.
Phish – “Down With Disease”
I’ve seen Phish live FAR more than any other band. I love a good jam and they’ve taken me to some of the highest highs that I’ve experienced for a live show. The sheer amount of songs and live recordings is too daunting to pick any one in particular, so I threw a YouTube dart and landed on this old video of “Down With Disease.”
Name: Boo Ray Hometown: Western Mountains of North Carolina Latest album:Sea of Lights Personal nicknames (or rejected band names): “During the few-years span that I just couldn’t seem to stay out of jail, the other incarcerated guys that I gambled with on Spades and Tonk called me ‘Boot-a-rang.’ I didn’t ever bother to correct ‘em. In grade school, my very first band was also called Rhythm & Booze; it was a 4 piece band and Marshall Tucker’s “Can’t You See” was a feature of our set.”
What other art forms — literature, film, dance, painting, etc — inform your music?
Ahh that’s a cool question… Well, it might could be that Southern writers like Harry Crews, Ron Rash, and Mark Twain make me think it’s important to have a writing voice, and that there’s something powerful and magic about the just right combination of words used to tell the truth of our human experience.
I knew this guy everybody called Mr. Jack that ran a sawmill-–an old V-Twin Harley motor bolted to a 12″x12″ post frame and a great big 15-foot 2″ bandsaw blade that pitched and twisted so wildly when it ran that it just seemed impossible it could have ever made a straight cut. But it did cut 18-foot-long, perfectly straight slices off the huge logs he used to run through that mill. He’d cut some 1/4″ thin cedar for me to use as lining on chests. The way Mr. Jack cussed at and about his sawmill, the logs, the lumber and his equipment, expressed his passionate care, deep affection, forgiving humor and humble mastery of his industry. I suppose my affection for the way Mr. Jack carried on about his sawmill might be responsible for my cussin’.
My great buddy, artist James Willis, is constantly teaching me about perspective and how to use detail and lack of detail as creative storytelling devices. Sean Brock’s amazing passion, depth of knowledge, agrarian approach, his wood coal cooking and his completely inclusive use of information, style, technique, perspective and philosophy, have certainly influenced me.
If you had to write a mission statement for your career, what would it be?
The point of the spear is compassion, inspiration and empowerment. I’m compelled to express to my fellow man that the troubles of life are not for nothing. The singer-songwriters that have moved me the most write songs that are part of the classic American songbook. So the purpose of my endeavor as a singer-songwriter is to land some songs, or a song, in the classic American songbook, whatever that is. I think that songbook includes songs by Lowell George, Leon Russell, John Hiatt and Fiona Apple. My favorite Grateful Dead record is the one that Lowell George produced, Shakedown Street. The word “Pop” ain’t necessarily blasphemy to me, unless it’s in front of the word “country”…
After writing the songs my mission is to perform the songs with my badass guitar-slingin’ band and build a dynamic, powerful and unique live sound around the character and nature of each of the songs. Live performance is more important to me than recording records, but I use the records as templates, stylistically, and to suggest possible arrangements. For me, the style itself demands that the records are exciting soundscapes, and experimental in the recording and engineering. If my records sound like someone else I’ve fallen short.
For me the singer-songwriter/guitar band-sound bar is set by acts like: Tom Petty and the Heartbreakers, Little Feat, ZZ Top, Marty Stuart & His Fabulous Superlatives, any of John Hiatt’s bands (from The Goners and Little Village to his Trio), and Jason Isbell & The 400 Unit. So what’s my mission statement? I want to be Jerry Reed.
Boo Ray & Sean Brock
Which elements of nature do you spend the most time with and how do those impact your work?
I don’t spend enough time on/in the water lately. As a kid, I was at the river every week and in the woods all summer long. Sunrises and sunsets are important to me. I really tried to get up to my buddy Sean Minor’s for spring branding and spend some time roping, riding and working cattle this year, but had shows and sessions I couldn’t get out of. I like to do tractor work, eat homegrown tomatoes, negotiate the price of a late ’50s step-side GMC truck or dispute the shape of the taillights on a ’68 Chevelle while cracking pecans against each other, and get caught in a torrential downpour and soaked to the bone after doing some farm work.
Since food and music go so well together, what is your dream pairing of a meal and a musician?
Agreed, and I totally dig a supper club-type show. How about Sean Brock doing some kind of Low Country spread with Ossabaw pork sock-sausage, rice peas, Geechie Boy Grits with a fresh catch, and some kind summer vegetables, with Billy Gibbons giving his take on Hill Country Blues. Billy and Sean are both great historians, passionate technicians and intuitive as hell. That’d be the dream pairing.
How often do you hide behind a character in a song or use “you” when it’s actually “me”?
The artists I like definitely seem to have character-driven numbers in their repertoire: Tom Petty’s “Break Down” and “American Girl,” Eddie Rabbitt’s “I Love a Rainy Night,” and Don Williams “Tulsa Time,” written by Danny Flowers. Those kind of songs hold you up as a performer and don’t require you to emote and be so intimate, at least for three or four minutes at a time anyways. Sometimes I might jokingly introduce “Redneck Rock & Roll” as a song that I wrote first-person as Kenny Powers. But I certainly do keep a few of those songs in my set: “I Got the Jug,” “Johnny’s Tavern,” “Six Weeks in Motel”, even “Sea of Lights” is that way now, most of the time. There’ve been a few times that singing “Sea of Lights” made me involuntarily weep and cry…
On the “you”/”me’ thing; I saw this Mary J. Blige performance once, she was singing this devastated lovesick number and my heart was just broken for her, you know? Then in the last chorus, nothing left but ashes and pain, she flips the script on the “you”/”me” switch and starts singing “bye bye” and waving as she left, and I realized she was singing my blues, and she was the one that was leaving. I was leveled. It was like a damned magic trick she’d just performed. I’ve tried variations of that writing device in my songs “Constantina,” “Six Weeks in a Motel,” and the “Hard to Tell” collab with Lilly Winwood all have a moment where they pivot or twist like that a little bit.
Photo of Boo Ray: Courtesy of Sideways Media Photo of Boo Ray with Sean Brock: Price Harrison
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