Tag: harmony

First & Latest: Half a Century of Gospel Dynasty The Isaacs

Posted on by Justin Hiltner

The Isaacs need no introduction. In gospel, bluegrass, and country circles they are well known for their convicting, heartfelt songs in the sacred tradition, demonstrating ardent faith through familial harmonies and a stunning polished, tight-knit sound.

They’ve been performing and recording as a group for 50 years, with their first commercial albums released now more than 30 years ago. They are veterans of the Grand Ole Opry, churches and bluegrass festivals all across the country, Gaither Homecoming, RFD-TV, and so many more roots music and gospel institutions.

In October of last year, the family – whose band consists of Lily and her children Ben, Sonya, and Becky – released a brand new album, Praise & Worship: More Than A Hollow Hallelujah. And, whether heard by “secular” listeners or listeners of faith, the project is a pitch perfect continuation of the mission and message the Isaacs have brought with them across their entire 50 year career.

The collection, as always, is stirring, resonant, and warm. With crisp and clean stylings of modern worship music intermingled with country and string band touches. In an exclusive interview with BGS, we spoke to Sonya Isaacs via email about More Than A Hollow Hallelujah by comparing and contrasting their latest project with their first – A Labor Of Love, which was released in 1990 and Live in Atlanta, which arrived in 1992.

We spoke about the Isaacs’ longevity, their faith, what sacred music offers to all of us, and how it feels to look back on so many decades of making music together as a family and ministry. Gospel music and roots music have always gone hand-in-hand and the Isaacs demonstrate that connection, intuitively, in all that they do.

Your latest album, Praise & Worship: More Than A Hollow Hallelujah, begins with the track, “Gratitude,” which I feel is a perfect place to start. This project is more than 30 years – nearly 35! – since your first releases. Can you speak a little bit about your longevity and what it means to you, at this point, to look back at such a prolific and productive career? I imagine you must practice a lot of gratitude.

Sonya Isaacs: We have been so so blessed to be doing what we love to do for the majority of our lives now! We are incredibly grateful for the journey that has brought us where we are today. The highs were high and the lows were low, but God has been with us and allowed us to live our dreams. A lot has changed about our sound, style, and even personnel since those humble beginnings, but one thing has remained and that is Christ is the center of everything that we do!

Gospel music and sacred music go hand-in-hand with American roots musics of all types. You all are comfortable in so many genres and styles, from bluegrass and country to contemporary Christian. I wonder what it means to you that gospel is such a big part of so many roots genres and how you see your own music fitting into different formats and styles of music?

When we started out 50 years ago, we never intended or dreamed that our music would cross over into different genres and styles. God has opened doors in different markets for us to get to take His message into. We don’t change who we are, we don’t change why we are there, we just sing and the songs do the work! It’s wonderful that so many different styles encompass the gospel message and we are grateful that we get to stand on different stages all around the world and be who we are. God is always the most important listener at our concerts.

What do you remember about the making of those first albums, A Labor of Love released in 1990 and Live in Atlanta released in 1992? Did you ever think or dream or assume you’d still be putting out records well into the 2020s? Was that always the hope or the plan?

I don’t think any of us were thinking too much about the future when we first started out recording almost 50 years ago. We were so excited to be in the moment and to get to be singing and recording, especially when we got our first major record deal in the late ’80s. Back then we weren’t very experienced as musicians or singers, and in the studio everything felt like a dream! We remember feeling nervous, excited, and grateful during those early years.

When we recorded the Live in Atlanta album and video, some of us were the most nervous we have ever been on stage. But it felt like a game-changing album once we finished the concert. There was a sweet spirit in that room that only God’s presence can bring. The songs we recorded on Live in Atlanta became some of our first to reach the top of the charts.

Now, a song you selected to spotlight from Live in Atlanta is “From the Depths of My Heart.” How did that track come into your repertoire and how does it strike you now, decades later, when you listen back?

“From the Depths of My Heart” was a song Ben and I wrote in a car riding from home in Morrow, Ohio, to our new home in LaFollette, Tennessee in 1992. I had just graduated high school the day before and we were all leaving behind all we’d ever known. The sad goodbyes with friends and loved ones were the inspiration for the song. It was like a gift God gave us to not only help us, but millions of other people who have needed the words over the years. It became our first number one song in gospel music, and remained in the charts for nearly 4 months. Looking back, it’s really the song that catapulted our career. We still get requests for that song all the time!

Obviously, there are so many connections between your music then and your music now, but I wonder what through lines or consistencies you see in your own body of work? What’s changed? What’s stayed the same?

As styles and technology have evolved, so has our sound. When we first started out, there was definitely more of a bluegrass trueness that came from our dad Joe Isaacs’ musical heritage. As the kids got older and began to play instruments and write songs, the style became more contemporary in general, but still was heavily influenced by the traditional bluegrass sound. Over the years we have done different albums with different styles; some country, some Americana, mostly gospel, bluegrass, and others, but the harmonies the Isaacs are known for have remained a constant. The instrumentation of guitar, mandolin, and bass have also remained a staple in our sound. Also, we have always been faithful to stick with lyrics that didn’t compromise the gospel in anyway.

It certainly feels like, from the outside looking in, the conviction you feel and the passion you bring to your music remains steadfast. What keeps you “in it,” making gospel, sacred, and Christian roots music?

We have always looked at our music as a ministry. Sometimes we are singing to the choir and sometimes to those who won’t even step inside a church door. We know that any talent we have comes from God, the Creator, and we love the faith aspect of our music. It is truly why we do what we do and we couldn’t imagine our music without Him being the center of it! He is everything to us, and our mission is to carry His love to the world.

Can you talk about “(More Than A) Hollow Hallelujah,” the title track, and how the song and its message became the cornerstone of this latest album?

When we decided to do an album of praise and worship covers, there was a song that came to my mind that I had started writing years ago. I had the chorus mostly finished and called the other three to come finish it with me just a few days before the session. It seemed like an important song to have on the record because it summed up everything the record was intended to say. Without sincerity, it’s all in vain. Jesus is looking for true worshippers and followers. It’s easy to get caught up in life’s rat race and hurdles, but it’s more important now than ever to show God how much we love, appreciate, and need Him. He responds to praise and that is something we have learned down through the years. The mysteries of God and the miracles we read about are found out in the deep. We shouldn’t be content to splash around on the shore. This song calls us out to the deep.

Looking ahead to the next 35 years, the next 50 years, what do you hope will be the Isaacs’ legacy over the upcoming few decades?

As we are all getting older together, it’s interesting to think about where we will be in 10, 20, 30 (if we’re lucky) years from now. We run so hard on a day-to-day basis that somehow it doesn’t feel like we are as old as we are – with our youngest Becky turning 50 in August this year! What we pray our legacy will be, when it’s all said and done, is a family who loved to sing and pray together, who loved to share the good news of Christ in song, and a family who never stopped striving to be the best they could be at their trade. We hope the songs we have written and recorded will live on in time as those we enjoy today from others who have gone before.

Is there anything else you’re reflecting on or want to add as you consider your First & Latest and your long, full careers?

Looking back, it seems good that you can’t look forward. We have learned that the journey is just as important as the destination, and if we could see some of the twists and turns, some of the disappointments, we would no doubt have chosen different paths. We have been so blessed to have made it to where we are today with God’s grace, but we sure have overcome our share of dark days. Many songs and testimonies have been written out of those dark days that have helped others get through them. By experiencing life’s struggles, we are equipped with the knowledge and experience to help others get through them, too. Don’t begrudge the hard journey – it’s where our faith is built and our wisdom is learned.

Photo Credit: Courtesy of the artist.

The Cactus Blossoms’ Modern-Classic Sound Blooms on New Album

Posted on by Justin Hiltner

With a sound that’s like rain in the desert for fans of early rock and country, the Cactus Blossoms let their modern-classic vibe bloom on their latest album, Every Time I Think About You. But with pair of big shows to help celebrate the launch, this band is living very much in the present tense.

Made up of Minneapolis-based brothers Jack Torrey and Page Burkum, the duo’s new project arrives August 30 and once again captures the full, timeless magic of spacious melodies, tasteful twang, and tightly-wound harmony. That night, they’ll mark the release with a long-overdue debut at the Grand Ole Opry – where they ought to find a few like-minded fans of keeping music’s traditional cool factors alive – and then head home for a milestone gig in St. Paul.

After a trio of well-received albums and more than 10 years of riveting shows, it’s the perfect setup for a duo who seem totally at ease blurring the American roots timeline – and who promise they couldn’t fake it if they weren’t.

“I don’t think we’re very good at striving,” Torrey says, speaking from the verdant midsummer shores of Lake Superior on a much-needed break from the road. “I do think [this record] has a comfort level, especially since we’ve been able to start touring again, and really hit it. It’s been feeling like we’re a unit and we can kind of read each other’s minds a little bit.”

Speaking with BGS ahead of the release of Every Time I Think About You, Torrey and Burkum filled us in on what that telepathic bond helped create, and where it’s coming from.

A lot of Every Time I Think About You features the “modern-classic” sound you have both made a calling card – like it would sound fresh a few decades ago and today as well. But is that dangerous territory for a band? You don’t want to be pigeonholed as a throwback, right? So how do you walk the tightrope?

Jack Torrey: I think there’s an interesting aspect of that from our perspective. I got super into Bob Dylan and Hank Williams and I was singing songs by both of those guys way back, 18 years ago or whatever. Page was into Jimmie Rodgers and those other super old country things. We start singing together and it’s like if you harmonize on a Hank Williams song, it kind of starts to sound like an Everly Brothers song. You’re kind of accidentally falling into that and getting into territory that people went into 60 years ago – but it’s new for us and I think that has kind of kept happening. We’re not recreating or trying to do anything like listening to records and imitating it. It’s almost like we’re carving our own mini canyon, that resembles some of the other ones from the past.

Page Burkum: I was kind of thinking about this as a way of summing up our style and influences: The Band, The Traveling Wilburys. Those are like my four main food groups or something. I love where all those guys are coming from – a little Roy Orbison, a little Bob Dylan. They balance each other nicely. And I was thinking, when that’s your diet, you’re going to make something that comes out [like Every Time I Think About You]. … But we love other totally different kinds of music outside of that realm too, and I hope a little bit of that gets in there, too.

Where is the title track, “Every Time I Think About You,” coming from? It’s got that lovely, warm-and-fuzzy feel of a mid-century romance ballad to it, but maybe something more, too …

JT: That one is kind of a love song to losing a friend – it’s kind of a heartwarming grief, where you’re almost being consoled by the memory of someone. And that’s where that song came from. The way we wrote it, I just had a couple lines, and then Page jumped in and started singing the beginning of the chorus, and then I sang back the next line, “Every time I think about you …”

PB: Sometimes Jack and I have made fun of biopic movie scenes like in Walk the Line, where it’s like Johnny and June or whoever sit down with a guitar and they’re just writing a song in real time. Like, they sing one line and then pause dramatically, and then sing another line and then it cuts to them playing it for a thousand people or something. But in a funny way, that was kind of the closest to that. [Laughs]

JT: I was like, “I didn’t ask you to jump in and work on my song … but that’s pretty good idea. Let’s do it.”

The album kicks off with “Something’s Got a Hold On Me” – which almost has a Southern rock swagger to it. Where does that come from? Is that your Tom Petty influence showing?

PB: When I first had the idea for that one, the very original idea that set it off was actually a weird little piece of a Jimmie Rodgers song. So, I stole that line and that melody, which is about two notes or something, but it kind of inspired the whole song in a weird way. To me there’s some blend of Lead Belly and The Beatles or something in my mind, but then it ends up just sounding like a country-rock two step. That’s just what happens. It’s fun to roll with stuff. … I threw in another Jimmie Rodgers line, that “T for Texas, T for Tennessee,” to kind of keep that tribute going.

Oh that’s right, I should have known. Why did you end up finishing on “Out of My Mind (On Sunday)”? Is there a reason that seemed to wrap things up?

JT: It wasn’t a big dramatic decision, but it seemed like a nice bookend from “Something’s Got a Hold on Me” to end with being a bit of a crazy person. [Laughs]

PB: To me it actually kind of leaves the door wide open. I don’t know if you want to cap things off with the sweetest, most-concise thing you have, you know? There’s something about it that’s a little bit out there to me.

You’ll make your Grand Ole Opry debut the night this album drops. Then you’re having a big hometown party with show at Fitzgerald Theater in St. Paul [on September 13]. What does that mean to you?

PB: We’ve got one of our favorite local bands, Humbird, joining us for that [St. Paul] show, so that’ll be really cool. We’re trying to get some of our collaborators to be involved too, if we can spice it up with an extra ensemble beyond our regular band. So we’re trying to get a piano on stage or something. I mean, it’s a theater show, so it’s a little different. And it’s our first time playing our own show at this theater. It’s a really beautiful building and I never thought I’d play there when I was a kid.

JT: It’s where [A] Prairie Home Companion used to be back in the day. Page and I actually played there when we were first getting started, which was a special time. So it’s cool, and should be fun. Some people can come that don’t like to stand, since we play a lot of clubs. [Laughs]

Photo Credit: Aaron Rice

MIXTAPE: The Wilder Blue’s Smooth Harmony Jams

Posted on by Editor

Something special happens when multiple human voices intertwine. Maybe it stirs something in our DNA, some echo of countless lost generations and the songs they sang together on countless fire-lit nights. All I know is that people love it. It’s the part of our show people remark upon the most afterward, often adding something along the lines of “You just don’t hear harmonies like that much anymore.” While it does seem to be true that solo artists tend to dominate the charts these days, there are still a lot of groups out there keeping harmonies alive. Here are some of our favorites from both past and present. — The Wilder Blue

From Paul Eason, lead guitar

Alison Krauss & Union Station – “Maybe” (from Live From The Louisville Palace, Kentucky)

These harmonies (which are performed live!) are just super interesting and not predictable. I love how the first chorus is just a single harmony and the second adds the third part.

Punch Brothers – “My Oh My”

These guys are just some of the best musicians alive, and their harmonies match their virtuosic instrumentalism. I have seen them do it live, and it seems they are incapable of singing even slightly off pitch.

Darrell Scott – “No Love in Arkansas”

I don’t know if I love the harmonies as much as I just love this song. It has the feel of a live recording — but a real, real good live recording. I get the impression that Darrell surrounded himself with players as effortlessly musical as he is, and the song just came out the way it was supposed to be.

from Andy Rogers, multi-instrumentalist

Bluegrass Album Band – “So Happy I’ll Be”

I grew up singing bluegrass gospel music with my family and this tune always stuck out to me. I love the call-and-response singing and of course that sweet guitar pickin’.

I’m With Her – “See You Around”

I can’t say enough good things about these three artists’ solo work, but putting them together and hearing those beautiful three-part female harmonies is just magical to me. They sort of remind of a more modern sounding Trio.

The Brother Brothers – “On the Road Again”

I found this group through a friend’s suggestion and just instantly loved it. I mean, does it get much better than sibling harmony? They are incredible songwriters as well. I often send this tune out to the guys in the band when we’ve been off the road for a little too long, at least in my opinion, lol.

from Sean Rodriguez, bassist

The Band – “Time to Kill”

I think it’s pretty undeniable the effect The Band had on harmony-driven bands in America, despite everyone but Levon Helm being Canadian. This great Richard Manuel-led song I think is underrated in their catalog and has great harmony parts throughout.

Billy Preston – “Let the Music Play”

After watching The Beatles doc Get Back, I couldn’t resist the urge to dive further into Billy Preston’s catalog. The vocal arrangements here bit me hard and haven’t let go.

The Staples Singers – “Respect Yourself”

There’s just something special about a family that sings harmony together. The blend of the voices can’t be beat, not to mention the message here. Respect yourself, baby!

from Zach Williams, frontman

Brandi Carlile – “The Eye”

This was the song that got me hooked on Brandi. I was instantly roped in by the beautiful stripped-down harmonies and The Firewatcher’s Daughter is still my favorite album of hers.

Alabama – “I’m in a Hurry (And Don’t Know Why)”

There were a lot of great harmony-based country groups in the ’90s. I could’ve picked Diamond Rio, Blackhawk, Little Texas, or any number of others. But this is the one that came to mind, and I remember jamming along with it back in my college days.

Acappella – “I Feel Good”

Speaking of my college days, I was raised in the church of Christ and went to Abilene Christian University. Churches of Christ traditionally don’t use instruments in worship and the whole congregation sings together in four-part harmony. My first paying gig as a musician was singing bass and beat-boxing in an all-vocal group at ACU, and I only wished I could sing bass like the guy in this premier C of C singing outfit… Acappella

from Lyndon Hughes, drummer

Eagles – “Witchy Woman”

This is one of my favorite Eagles tunes. The way they break it down on the bridge to just vocals, drums and bass is absolutely brilliant. #BandGoals

Dan Fogelberg – “Leader of the Band”

Oh the smooth harmonies of Dan Fogelberg. Nothing too complicated… just crystal clear vocals and guitars (and a bonus horn solo).

The Beatles – “Because”

Here is a beautiful and eerie song by a little known band called The Beatles. Over 50 years later… the harmonies never get old.

Photo Credit: Cal and Aly

Growing Up in Bluegrass, Carly Pearce and Sonya Isaacs Come Full Circle

Posted on by Editor

Carly Pearce and Sonya Isaacs can both trace their musical roots back to bluegrass, even as their individual careers have introduced them to fans beyond that genre. A rising country star, Pearce is a native of Taylor Mill, Kentucky, who just released her third album, 29: Written in Stone. She cites Isaacs — a sterling vocalist and instrumentalist in the gospel group The Isaacs — as one of her biggest vocal influences. Meanwhile, the Isaacs salute some of their own favorite songs with The American Face, a new album blending new material and well-chosen covers. These artists’ professional paths converged this fall when Pearce and, later, The Isaacs, were welcomed into the cast of the Grand Ole Opry.

Calling in to BGS, Carly Pearce and Sonya Isaacs converse about their formative years as musicians, their education in bluegrass harmony, and their immediate response to “Easy Going,” a cool collaborative cut on 29: Written in Stone.

BGS: Let’s start by talking about “Easy Going.” Carly, what was it about the song that made you want to bring in Sonya and Ben Isaacs to sing with you?

Pearce: When I was writing this song, I could hear the harmony. I grew up loving music and harmony and all of those things. As soon as we finished writing it and knew that we wanted it to be on the project I just heard The Isaacs. I grew up loving them and loving their harmonies. Nobody sings harmony better than the Isaacs family, so I asked Sonya.

Sonya, what did you think when you first heard the song?

Isaacs: I love Carly’s voice, too, and I was like, “Well, I’m sure anything that she wants us to sing on will be amazing. And knowing how she loves harmony singing, I thought, “This is gonna be really fun.” Of course, she’s one of the most incredible female vocalists of all time, I think. So, when she played us the song, I flipped out over it. I absolutely loved the song, and I was like, “I can’t wait to get in the studio!” … It was a good a vocal exercise, a good stretch! [Laughs] And it was a challenge because she’s so good, but that’s my favorite kind of session. We had a blast and I love the song.

I like the arrangement because you’re giving the musicians a chance to step out and do what they do best. It feels like a band record in some ways.

Pearce: Yeah! They were all so inspired in the studio by the song and I remember telling Shane McAnally and Josh Osborne, my producers, “Hang on, hang on, and let them do their thing.” I love instrumental bluegrass music, so I wanted to have that element and that feel in the song.

I do want to explore the bluegrass background that you both have. Sonya, can you kind of tell me how bluegrass fits into your overall musical direction?

Isaacs: Yeah. Our dad has been playing bluegrass all of his life. He’s 74 now and he grew up loving bluegrass. The Stanley Brothers, Bill Monroe, all of the legends of bluegrass. Dad loved it first, and when Carter Stanley passed away, my dad actually filled in for him with Ralph for a while and sang Carter’s part. He really fit that style. Dad always instilled a love for bluegrass music, especially traditional bluegrass music, into us kids. He taught us how to play our instruments. He was very key in teaching us the first things we ever learned. Over the years, with our own writing and different influences and artists that we’ve discovered along the way that had a little more of a contemporary sound, our style morphed and changed a little bit away from the more traditional bluegrass sound, but it’s always been the root of everything that we’ve ever loved.

Let’s talk about your dad a bit because the Isaacs just won an IBMA Award for a recording of “Garden Tomb,” which he wrote. I’m curious how that song came back into the forefront.

Isaacs: Dad moved to Kentucky about 20 years ago after he and Mom divorced. He hasn’t really traveled with us or been in the recording part of what we do for all those years. But, of course, he made pop-up appearances when we were around. So, Joe Mullins reached out to us — we love Joe Mullins and the whole Mullins family — because he was doing this project called Industrial Strength Bluegrass and wanted the Isaacs to be a part of it. [The project was named IBMA Album of the Year in September.] Joe has always loved the song “Garden Tomb” that my dad wrote many, many years ago. It was one of our earlier hits that we had many years ago. So, we thought it would be a good idea to do that song.

Our dad is, to me, one of the most underrated legends of bluegrass music. Mainly I think because he chose to do gospel instead of mainstream bluegrass, he was overlooked a lot. So we said, “We’ve got to get Dad in here to sing on this.” And then we decided to add the Oak Ridge Boys, to give it even more of an inclusive feeling. They agreed to come in and they were so proud of it. And my dad felt so honored that it was his song that was on this project. We’re very proud of this whole album — and to be from Ohio. This whole album is artists that are from Ohio or lived in Southern Ohio. It was a full-circle thing for us.

Carly, I know you joined a bluegrass band around the age of 11, right?

Pearce: I did, yeah. I sang in a bluegrass gospel band. That’s how I got my start on stage, outside of the childhood talent shows and things like that. I fell in love with it and feel like I understood what it meant to really be able to sing. I learned a lot of things in those years I was in that band, traveling around and watching bands like the Isaacs. There is no faking that harmony in that music! I think it made me a better singer today because of it.

You’re both known now for singing with other people. Carly, you’ve had a couple of hit duets, and Sonya, you’ve been singing with your family for a long time. Did bluegrass help you build that foundation, in terms of being able to blend your voice with another voice?

Isaacs: Absolutely. Anybody that can sing the third part with the Louvin Brothers, or with Ralph and Carter Stanley, it really teaches you to sing harmony and to find the part. You can listen to a Ralph Stanley song and hear all his vocal licks, and you can compare it to a Mariah Carey vocal lick. Even though they’re completely different styles, they’re both working their vocal cords and it takes a great skill and talent to be able to do the runs and licks that they do. So, absolutely, growing up singing along with those old records and finding that third part was very instrumental in me learning to sing harmony.

Pearce: For sure. The joy, for me, of singing is sometimes getting to collaborate with other vocalists and people that I love and adore. I’m such a fan of their voices. Sonya knows this, but so much of what I feel like people know my voice could be — kind of the flip into my head voice — is because I was trying to emulate Sonya’s voice when I was growing up, going to watch her sing. That’s why singing with her is so special for me.

Isaacs: Aww. It’s crazy because… how old are you Carly?

Pearce: I’m 31.

Isaacs: So, I’m 16 years older than her. It’s so funny for me to hear her say that she grew up listening to the Isaacs, and emulating me, because I don’t feel like I’m that much older, but I am. I’m just in denial, I guess, but I am so honored that she would say that! [Laughs]

Speaking of influences, Carly, you have Patty Loveless on your record, singing with you on “Dear Miss Loretta.” What was going through your mind when you heard her voice come in on that song?

Pearce: Oh, I sat in my car and bawled my eyes out. Patty and Sonya are two of my biggest influences and to have them be so gracious to be a part of my album, it’s something you dream of.

And it’s a song about Loretta Lynn no less. You really went for it, making Kentucky proud. Growing up, were you pretty well aware of the bluegrass history in Kentucky?

Pearce: Oh, for sure. My grandpa played clawhammer banjo and I grew up listening to Flatt & Scruggs and Bill Monroe and Ralph Stanley. I definitely understood how many people come out of the state of Kentucky, like the Judds. I think that’s where I really started to fall in love with music — by listening to people who came from Kentucky.

Sonya, on The American Face record, you have six songs from the past and an equal number of new songs. Are there any of those that you’d want a bluegrass fan to check out?

Isaacs: The instrumentation on this record, and that we’ve always done, leans toward that contemporary acoustic sound with the addition of a few extra instruments like piano. But our roots are always going to be that acoustic sound, and that’s how we are live. But I think “We Can Work It Out” — the Beatles cover that we did — is very acoustic and fun. We have a song “More Than Words” that was originally recorded 30 years ago by a rock ‘n’ roll group called Extreme. We did that stripped down with just upright bass, some snaps and vocals. I guess it’s not really considered a bluegrass song but the vocals are definitely influenced by that. There are quite a few songs on here that the bluegrass fans would really, really like.

It feels like you’re both having this moment, where you received an invitation to join the Grand Ole Opry and you’re winning industry awards. People are really noticing both of you right now. What are you enjoying the most about this time in your career?

Pearce: I’m sure that Sonya would say the same thing, but moments like becoming a member of the Grand Ole Opry — that’s something that I wanted and dreamed of and hoped for my whole entire life. And now to say that I am a part of that family is so surreal for me. All of these things, the childhood dreams, are coming true. You hope that when you’re writing music and singing and doing all of these things that it’s impactful and that people are going to care. And the fact that I feel like people care is so special.

Isaacs: Ditto to that. That’s a great answer. Again, it goes back to growing up. Dad instilled a great love for bluegrass music but hand-in-hand with that is that old classic country sound. I think nowadays, the classic country would fall more into a bluegrass category than even current country, because it’s changed and evolved so much since those days. Dad always instilled in us in love for the Grand Ole Opry as well, so it was full-circle again to be inducted and to be an Opry sister with Carly. We’ve known her for years and we’ve written together and we go way back. It is a really neat time to get to share these moments.

Photo credit: Nicole Sherwood

Billy Strings and Del McCoury Team Up for “Midnight on the Stormy Deep”

Posted on by Editor

Simple and strong, this live performance of “Midnight on the Stormy Deep” encapsulates so much of what we love about bluegrass. A style-defining voice and top-shelf front man, Del McCoury sings tenor and strums his signature rhythm guitar on the tune as Billy Strings leads from behind a mandolin — a lesser-known instrument for the fiery flatpicker whose name and music have become synonymous with modern bluegrass.

A timeless bluegrass standard, McCoury and Strings’ fresh take on “Midnight on the Stormy Deep” is reverent and quietly respectful of the music’s traditions. The breaks and fills are baked into the sound of bluegrass while the forward, bright vocal tones of the two friends could be the textbook definition of traditional harmonies. Some might say that McCoury and Strings could hardly be any more different as artists, but their mutual respect and appreciation is evident in this figurative, bluegrass passing of the baton. Don’t miss their in-studio performance of “Midnight on the Stormy Deep.”

Photo courtesy of Rounder Records

The Show on the Road – The Secret Sisters

Posted on by Shelby Williamson

This week, host Z. Lupetin talks with Laura and Lydia Rodgers, Grammy-nominated songwriters and preeminent harmonizers from Muscle Shoals, AL, who for the last decade have recorded as The Secret Sisters.

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First breaking through with their warmly-vintage, vocally-entwined self-titled record in 2010, the Secret Sisters have toured the world relentlessly, while recording with a who’s who of Americana royalty like Dave Cobb and T Bone Burnett. If you’ve ever seen them live, Laura and Lydia are known for their sharp-tongued and story-filled live shows — which, even over Zoom, made them particularly rip-roaring interviewees.

After breaking free of a major label hell which sidelined and nearly bankrupted them for a time, the sisters regrouped and created their most personal and pop-forward work yet, the heart-string pulling You Don’t Own Me Anymore (2017) and 2020’s fiery Saturn Return. Both were made with friend and producer Brandi Carlile, and both were nominated for a Grammy.

While the last year plus was hard — they lost both grandmothers — there was quite a silver lining: Lydia and Laura each become moms, and have begun to sing their own lead pieces, courageously facing uncomfortable truths about their southern upbringing, calling out the double standards and sexual politics of the music industry, and showcasing their very different experiences as young mothers.

With Carlile pushing them to find their own voices, Laura wrote the tender “Hold You Dear” while Lydia penned the more yearning and sardonic “Late Bloomer,” two favorites that stick out after repeated listens to the album. Still, the true beauty of Saturn Return — which they recorded with Carlile’s beloved band — may be how Laura and Lydia can split off into new territory and then return together in chills-inducing harmony, as only sisters could.

Stick around to the end of episode for an intimate acoustic performance of “Nowhere, Baby.”

Photo credit: Alysse Gafkjen

WATCH: Bruce Robison & Kelly Willis, “Tennessee Blues”

Posted on by Editor

Artist: Bruce Robison & Kelly Willis
Hometown: Austin, Texas
Song: “Tennessee Blues”
Release Date: August 27, 2020
Label: The Next Waltz

In Their Words: “Nikki Lane mentioned ‘Tennessee Blues’ to me probably four years ago and that was the first time I heard of Bobby Charles. I realized I had heard the song by Doug Sahm over the years. It is one of those tunes that after first listen you know it would be incredible for harmonies, and it is. I think the greatest songs are effortless to play and even easier to sing. ‘Tennessee Blues’ is that. Bobby Charles is an artist that should be much better known, but occasionally discovering those artists and songs is about my second favorite thing in life.” — Bruce Robison

Photo credit: Todd V. Wolfson

WATCH: Distant Cousins, “Angelina” (Live)

Posted on by Editor

Artist: Distant Cousins
Hometown: Los Angeles, California
Song: “Angelina”
Album: Here & Now
Release Date: June 5, 2020 (single); June 26, 2020 (album)
Label: Jullian Records

In Their Words: “A few months back, B.C.E (Before Coronavirus Era), we rented out one of our favorite studios for the day and we recorded and filmed it all — nine songs in the day. The vibe in the room was really special. All day long, our musician friends kept coming and going to lend their special talent to our music. It’s hard to believe that that was just a few months ago. Now it all feels like a dream. Certain songs ask for a feeling of intimacy and ‘Angelina’ felt like it needed just that. We found a quiet moment somewhere towards the middle of the day while no one else was around and in the dimly lit room, the song almost played itself. We are very pleased with the result and love how our director, David Schlussel, captured that sense of intimacy that the song represents to us.” — Distant Cousins

Photo credit: Ehud Lazin

BGS 5+5: The Sweet Water Warblers

Posted on by Editor

Artist: The Sweet Water Warblers
Band members: Rachael Davis, Lindsay Lou, and May Erlewine
Hometown: Hoxeyville, Michigan
Latest album: The Dream That Holds This Child
Personal nicknames (or rejected band names): “Party RD,” “Lou,” “Segue May” …also, Rachael’s daughter Lela calls the two other Warblers “MayLou” collectively

Which artist has influenced you the most … and how?

Rachael: That’s hard to say for a trio, but for me (Party RD) that’s the simplest question. My parents are musicians and no other artists could have possibly influenced me more. They taught me how to play instruments, and sing harmony, and write songs! They taught me how to set up equipment and make a budget and how to be gracious and approachable and original. They supported me in all my artistic endeavors and never gave a shadow of a doubt that I could succeed. I’m not sure there’s any other artist that could approach that degree of influence.

May: It’s really hard to say, it’s an evolution of things. One influence leading to the next one. I will say Joni Mitchell’s bravery in her vulnerable music and also in using her voice to speak for justice is something I continue to draw from.

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

May: I draw from everything I possibly can. I believe that the art of noticing is directly connected to the act of being present. I try to explore and notice the world around me and use it to fuel my songs. I like to paint, draw, sew, cook, garden, run, walk, bird, read, write poetry, talk about things deeply.

Lindsay: The Dance of the Dissident Daughter by Sue Monk Kidd was a book we were reading and referenced a lot while we were putting the album together. It’s a moving memoir of a woman’s journey to find the sacred feminine, and it spurred some exciting late-night conversations.

What’s the toughest time you ever had writing a song?

Rachael: When we write together for The Sweet Water Warblers, we always carve out a good amount of time, space and intention for being creative. I think the first time we did a co-writing session with the three of us, Lindsay had just moved to Nashville, where I had already been living for a few years, and May was still living in Northern Michigan. Lindsay and I met at her house and we FaceTimed May in Traverse City. The distance and delay made the process not as fluid as it could have been. That is to say, that it really wasn’t that difficult, but it was technically the toughest time we had writing. After that, though, we did resolve to all being in one place for that process in the future, which we have adhered to since.

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

Lindsay: There were a few ritual-like things we did while making the album that focused our intentions. At the beginning of each day in the studio, every person there brought in a mentor to the spiritual space of making music together. We went around and spoke their name and who they are to us into the studio mics. It didn’t take much time but hearing about all the people who’d brought us to that moment gave our task an even deeper sense of purpose. I loved hearing who was named and the way they were remembered.

We lit a candle to mark the beginning of tracking for each song. The flame seemed symbolic of the offering in each like a unique being we set out to shine a light on. We also started our first in person meeting with Dan Knobler by sharing 10 minutes of silence. Nothing like silence to frame the experience of making sound.

For live shows we come together and sing in a quiet private space before we take the stage. Allowing our souls to harmonize for the sake of sharing the vibration is a sweet reminder of why we’re there, and it gets us aligned and ready to connect with the audience as one.

What’s your favorite memory from being on stage?

May: There are so many, but I’ll get specific with this band in recent times. We finished a song at one of our shows this February and the emotional quality in the room was so thick, that nobody even clapped for a good 30 seconds. That was magic right there. I hope to always have new favorite memories on stage and with these ladies, that’ll be an easy dream to achieve.

Photo credit: Scott Simontacchi

The Show On The Road – Jamestown Revival

Posted on by Chris Jacobs

This week on The Show On The road, we feature a conversation with Jonathan Clay and Zach Chance, two Texans and expert harmonizers who for the last decade have toured the world as Jamestown Revival.

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Right before all tours got sent home, host Z. Lupetin was able to hop on the Jamestown Revival tour bus (sorry for the engine hum) to discuss their intimate new record, San Isabel, and their journey from meeting as curious singing teenagers in Magnolia, TX to their move out west and back home again. While their previous record, The Education of a Wandering Man, saw them harnessing the muscular roots-rock that can be heard at their powerful live shows, San Isabel strips everything back to their intimate two-voices-around-one-mic, “southern and Garfunkel” sound that brought them together in the first place — and has rightfully won them hordes of fans coast to coast.

They say sibling harmony can’t be compared and we’ve had several sets of twin bands on the podcast, but what about soul-brother harmony? If one thing is clear just sitting on the bus and listening to them weave their stories and songs together, it’s that Clay and Chance were born to sing together.

San Isabel was laid down at Ward Lodge Studios overlooking the San Isabel National Forest in Buena Vista, Colorado and often includes the natural sounds of the nature all around them. Give it a listen — it’s peaceful and powerful and raw and maybe just what we all need right now.