Multi-talented musician and producer Josh Kaufman is known for his work with Josh Ritter, The National, and his band Bonny Light Horseman. I’ve known Josh for many years, after meeting him in Pittsburgh while he was on tour with Dawn Landes. I felt instant friendship with him (and, honestly, with the entire Dawn Landes band that day). We haven’t seen each other very much over the last 15 years, but since he left that impression on me I’ve always rooted for him in his career.
In our Basic Folk conversation, Josh shares anecdotes from his childhood, including memories of his journalist mother interviewing legendary musicians and the backstage snacks that left a lasting impression. He reflects on his early musical influences, the role of music in his family, and how his parents supported his passion for music from a young age. Then we dive into Josh’s experiences playing in bands in New York City during his high school years and how those formative experiences shaped his relationship with music and the city itself.
As a producer, Josh discusses his approach to working with artists by emphasizing the importance of capturing the raw, live energy of a performance. He talks about his instrumental album, What Do the People in Your Head Say to Each Other, and how embracing imperfection has become a central theme in his work. He also touches on his collaborations with notable musicians, including Bob Weir of the Grateful Dead, and the impact of those experiences on his career. Josh Kaufman is the most sought out producer in roots music these days. Look out for him producing some great records in 2025 and beyond.
Artist:Rachel Sumner & Traveling Light Hometown: Boston, Massachusetts Song: “Radium Girls (Curie Eleison)” (Traveling Light Sessions) Album:Heartless Things Release Date: November 21, 2024 (video); May 10, 2024 (album)
(Editor’s Note: Over the last few weeks, BGS has premiered a new series of live performance videos from singer-songwriter and band leader Rachel Sumner. Today’s video marks the end of our series together. Watch more from the Traveling Light Sessions here.)
In Their Words: “‘Radium Girls (Curie Eleison)’ is based on a true, terrible piece of United States history – one that I didn’t learn about in any history book. It tells the story of the Radium Girls, young factory workers poisoned by the very material they were told was safe, and their courageous fight for justice. The title juxtaposes scientific progress with a plea for mercy, tying the legacy of Marie Curie to the tragic consequences of her discoveries.
“Performing this song with Traveling Light keeps the arrangement stark and intimate to let the haunting resonance of the story come through. This video is particularly special to me, because I had the chance to play a guitar that one of my songwriting heroes, Josh Ritter, has used to record many of his own epic story songs. It felt like a beautiful connection to the power of storytelling.” – Rachel Sumner
Track Credits: Rachel Sumner – banjo, lead vocals Kat Wallace – fiddle, harmonies Mike Siegel – bass, harmonies
Video Credits: Engineered by Zachariah Hickman. Filmed by Lindsay Straw. Mixed by Rachel Sumner. Mastered by Dan Cardinal. Video edited by Rachel Sumner.
Bonny Light Horseman is an indie/folk supergroup that formed in 2018 at the Eaux Claires Music & Arts festival in Wisconsin. Composed of Anaïs Mitchell (Hadestown), Josh Kaufman (Bob Weir, Josh Ritter, The National), and Eric D. Johnson (Fruit Bats), together the band has released two full-length albums. On June 7, their new double album Keep Me On Your Mind/See You Free expanded their studio album catalog by 100%.
Their first self-titled release, from 2020, features the band’s takes on traditional folk songs; the second, 2022’s Rolling Golden Holy, is a fully original body of work. Their music is tranquil, gorgeous, and breath-taking and their powerful blend of voices is just as striking. The trio bring a new light to the beauty of folk music, and truly makes each song their own.
To celebrate the new project, Keep Me On Your Mind/See You Free, we’ve handpicked a few favorite tracks from their past releases – together and separately – to highlight their musicianship, collaboration, and exactly why nearly everyone calls them a supergroup.
The title track off their first album and namesake of their band, it’s a heart-breaking ballad about a love lost to war that was found in the Roud Folk Index (#1185). The group’s arrangement features a low-tuned guitar and subtle textures of harmonica and saxophone which carry Anaïs’ and Eric’s transporting vocals.
“Deep in Love” – Bonny Light Horseman, Bonny Light Horseman
The second song off the band’s debut album is simply illuminating – it feels like a gust of wind on a warm day. Listening to Eric sing, you can hear vocal influences from Joni Mitchell in his jumps and leaps. It has a very freeing feel to it and breathes beautifully.
“The Roving” – Bonny Light Horseman, Bonny Light Horseman
The third track on Bonny Light Horseman also demands inclusion. It’s a song about the singer’s heartache over “Annie,” a woman who once said she would marry them, but over time fell out of love with the singer. The melody is subtle and sweeps the listener into a setting of tranquility. In the arrangement, the band switches between a single, double, and quadruple chorus which is a very sweet and simple way to convey the story to the listener.
“Jane Jane” was first recorded in 1939 by Lila May Stevens. This arrangement combines Stevens’ lyric with the African American spiritual and gospel classic, “Children, Go Where I Send Thee.” Bonny Light’s rendition is simply breathtaking; Johnson and Mitchell switch voices between the major and minor sections of the song, creating a raw and haunting sound.
The penultimate song off Bonny Light Horseman is a traditional Appalachian spiritual originally documented by Alan Lomax. This song holds the essence of a church choir belting for their audience and it’s one of the more simple songs on the album, in terms of arrangement. Having only three voices and a piano allows listeners to hear their trading voices on each verse and then the bright light of togetherness on the choruses.
“Gone by Fall” – Bonny Light Horseman, Rolling Golden Holy (2022)
“Gone by Fall” sits directly in the middle of Bonny Light Horseman’s second album, Rolling Golden Holy. Depicting a summer romance, it’s reminiscent of a 1960s folk song you might have heard on the radio during the folk revival. Yet, in listening to it, a veil is seemingly lifted and you can hear it’s an entirely fresh take on such a classic sound. Their voices, which blend so beautifully together, and the crystal clear guitar lines throughout add in the sweetness of a summertime love.
“Someone to Weep for Me” – Bonny Light Horseman, Rolling Golden Holy
Next up is “Someone to Weep for Me,” a song depicting a person going through life craving someone to care for them, but never finding that person. The driving force of the track is the mandolin’s beautiful rolling pattern, a genius touch that’s present throughout the song and adds a sense of stability and a unique texture. Another stroke of genius comes at about 1:40 in, when the electric guitar comes in wailing, bringing the song into a “jam” with Anaïs singing a little line over it. This is such an unexpected vibe change and at the same time it fits so incredibly well.
Off the band’s two-track EP release Green/Green comes “Greenland Fishery,” a reimagined traditional sailor song. Bonny Light’s version certainly allows you to float away. The clawhammer banjo throughout is lovely and it’s such a treat as a showcase instrument – it isn’t emphasized often throughout the band’s catalog. It’s also very sweet to hear the second part of the chorus as it echoes the chorus of “Bonny Light Horseman” in such a gorgeous, reminiscent way.
“Willie’s Lady (Child 6)” – Anaïs Mitchell & Jefferson Hamer, Child Ballads (2013)
Delving into some of the band members’ other projects, we come to Child Ballads, an album of duets from Mitchell and collaborator Jefferson Hamer. The project reimagines seven songs from a 19th century folk song collection “The Child Ballads” collected by Francis James Child. “Willie’s Lady (Child 6)” tells the story of King Willie, who marries a woman his mother despises and, in turn, his mother curses the wife. The guitars on the track have such a strong, driving force, excitedly pushing the song while one holds down the rhythm and the other crosspicks during the instrumental sections. Anaïs and Jefferson use their guitars in a way that perfectly compliments the vocal work in the song; it’s sung entirely in duet, the two voices deepening the texture of the music.
“Cazadera” – Fruit Bats, Gold Past Life (2019)
Fruit Bats is Eric D. Johnson’s indie-rock band that he’s fronted since 1997. Off their seventh album, Gold Past Life, “Cazadera” is one of the grooviest songs around. About a person searching for meaning in life and finding it in love, it’s the kind of track that would help paint your surroundings on a joyful walk. It has a great sense of hope and beauty to it and the chill verses coupled with sharp choruses bring energy and excitement.
“Loser’s L-A-M-E-N-T” – Rocketship Park, Off and Away (2008)
Going all the way back to 2008 for a selection from Josh Kaufman’s band, Rocketship Park, a pop-folky project with the intention to play Josh’s original material. The song “Loser’s L-A-M-E-N-T” is off the group’s first album, Off and Away, and immediately displays a very mellow vibe. Jazzy little piano licks come together with electric guitar and pedal steel, creating a western-folk sound. You can truly hear how each instrument is talking to the others and how they all fit together in telling the story.
“When I Was Younger” – Bonny Light Horseman, Keep Me On Your Mind/See You Free (2024)
From the group’s just-released double album comes “When I Was Younger,” which has a sound unlike most of their other music. Combining styles from artists like the Grateful Dead and Billy Joel, the intro riff sounds like it pulls some from the former, yet, once the verse starts, it sounds immediately like the latter – a kind of “Vienna” feeling.
It goes right back into the psychedelic riff before switching voices from Anaïs to Eric, again back to the Billy Joel vibe. The guitar and vocal solo following this verse are so rock and roll, gritty and not at all sparkly like the verses prior. “When I Was Younger” does an incredible job blending musical styles. It’s an absolutely astonishing piece of music, using such few words yet conveying such a strong and vivid story.
Artist:Josh Ritter Hometown: Brooklyn, New York Song: “Honey I Do” Album:Spectral Lines Release Date: April 28, 2023 Label: Pythias Recordings marketed and distributed by Thirty Tigers
In Their Words: “I think it’s important for us to share some of our most basic and common experiences with each other, however we can. That’s what we really, really need right now. I know we have common experiences, and it’s important to telegraph those back because they don’t have to be lonely experiences. [‘Honey I Do’] is less a confession than a signal sent outwards. It’s so easy to feel insignificant and down and unlovable; so easy to believe that no one will ever love us again. I’ve felt that way before, and it’s important enough to me to share it. Maybe someone else has, too. There! We’re not alone anymore.” — Josh Ritter
Songs can be truly short short stories. There is so little time, so little space to convey a complete narrative. That challenge has always thrilled us when crafting our music. When we were asked to create a themed playlist for The Bluegrass Situation, I thought through our own songs that formed the new album Close Enough to Hear (out February 3) and wondered what common thread tied them together. Many of them really are conveying a story, something with a beginning, middle and end. We all went back to our favorite short story songs and marveled at the writers’ ability to forge a genuine drama, with a plot and characters, inciting events and climaxes, in just a few short minutes. It’s a high wire act, where every single word counts and nothing can be wasted. Here’s a list of our favorite short story songs. — Evan Murphy (acoustic guitar), Mile Twelve
This song makes me emotional every time I hear it. Bruce delivers this Billy Bragg song so powerfully and honestly, giving it a distinctly American flavor. – Nate Sabat (upright bass)
I was recently turned on to Bobbie Gentry through the Cocaine and Rhinestones podcast by Tyler Mahan Coe (highly recommended) and stumbled on this song while checking out her catalog. She’s done such an incredible job painting a musical representation of that longing, wishing feeling of wanting to be included. And on a dorkier note, listen to how the phrasing of the hook is different on line one of the chorus than it is on line four. So, so good. — Nate
Our good friends of the duo Tattletale Saints are excellent songwriters from New Zealand, now based in Nashville. This song about Little Richard has beautiful, clear imagery that pulls you right into the song. It’s a mellow performance, not trying too hard and resulting in a memorable story about a unique Nashville music legend. – BB Bowness (banjo)
This haunting a cappella song written by Jean Ritchie is sung from the wife’s point of view as she awaits news of her husband’s fate down in the mine. The song captures the anxiety and uncertainty she feels while she imagines a possible future without her husband. — BB
A dozen cheap roses in a shopping cart, veins through the skin like a faded tattoo. Isbell’s tight, sparse images bloom into vignettes which form a complete story by the end of this song. A man has reached the limits of his patience with a stagnant life. His father lays dying in the ICU, he has no prospects, nothing to stay for. After long years, he finally decides to pack it up and break free. When I am in a period of writing I actually can’t listen to songs this good. They torment me with their lean, sinewy perfection. To use Isbell’s own language, there is no fat on these lyrics. Everybody knows you in a speed trap town. — Evan
“My name’s Joe Roberts, I work for the state” might as well be “Call me Ishmael.” For me, this is the quintessential short story song. There are major motion pictures with plots less deep. It’s the struggle between two brothers, Joe and Frankie, one a state trooper and the other a struggling veteran who can’t seem to stay out of trouble. “I got a brother named Frankie, and Frankie ain’t no good,” sings Joe. Maybe it’s the fact that I have two older brothers, but when Joe watches Frankie’s taillights disappear across the border I cry, even after hundreds of listens. “I musta done a 110 through Michigan County that night.” How desperate was Joe to catch Frankie, to save him from himself? This song has taught me so much about musical storytelling. Springsteen is larger than life, for me and so many others. I wish I could open the back of his head and see how he does it. Thank God we have his music, it’s sacred. — Evan
“Caleb Meyer, he lived alone in them hollerin’ pines” opens this exquisitely brutal ghost story. Gillian Welch has reshaped the very structure of modern folk songwriting. She and David Rawlings prove that when the song, the vocals and the playing are flawless you really don’t need anything more. “Caleb Meyer” is a haunting murder ballad. A woman fights for her life, finding a broken bottle to slash the throat of her would-be rapist. I am in that room with her when I listen to this, the hair standing up straight on the back of my neck. It’s a full-fledged Western, and she does it in three damn minutes. She is a force of nature. — Evan
The lives of Prine’s characters are smaller and simpler than the legends of epic folk ballads. There’s no steam drill, no six shooters, no gallows at dawn. It’s just Loretta, Davie and Rudy, a back porch, a TV that plays the same old news. This is Prine’s genius, making the mundane transcendent in its beauty and its tragedy. It’s like watching modern human life itself dancing on top of his gorgeous finger-picked eighth notes. He was one of our great American prophets, observing, critiquing, reflecting, teaching. He is missed so dearly. — Evan
“‘If this was the Cold War, we could keep each other warm,’ I said on the first occasion that I met Marie.” Ritter is a favorite of novelist Stephen King. It’s not surprising, given the literary grandeur of his songwriting. The strange, post-apocalyptic tale of Marie and the missile silo transfixed me when I first heard it. It’s more mesmerizing with each repeat listen. How does someone create a world so fully realized, so convincing, with such simple tools at their disposal? What a gorgeously weird tale. — Evan
When I was younger, I had four or five Bob Wills CDs that were pretty much on repeat for my whole childhood. This Cindy Walker song was on a couple of them, and every time I heard that fiddle intro, it would stop me in my tracks. I’d sit there completely absorbed in the stark, dusty imagery. This song is lyrically and musically as simple as it gets, but it packs a heavy emotional punch. When this song was recorded by Bob in 1941, the Dust Bowl was barely history, and I can feel the pain it caused in every beat. You don’t always need fancy chords and poetry to make a statement—sometimes you just need a semi-natural disaster. — Ella Jordan (fiddle)
How can you have a playlist without a Joni Mitchell song? The oppressively ordinary yet starkly evocative imagery in the second half (only Joni can put a dishwasher in a song) somehow reminds me a little of some of Lucia Berlin’s writing. This is one of those songs that if you had never heard anybody sing it and you just read the lyrics, it would still be a beautiful poem. One that takes you on a journey, and makes you feel things. One that makes you question your life choices. We all hope it’s only a phase, these dark café days…. – Ella
This is one of my favorite songs from Randy Newman. He sings about traveling around the United States as a child of a Jewish immigrant family in an attempt to find a home and live the American Dream. He deals with themes such as privilege and the issue of losing one’s culture while assimilating. This is the story of many families during the end of the 19th century and beginning of the 20th and continues to be a relatable topic today. – Korey Brodsky (mandolin)
Songwriter Unknown, Recorded by Hazel & Alice – “Two Soldiers”
The story of two Union soldiers during the Civil War who promise each other they will bring news back to their families if one of them does not make it through the battle. The imagery of war is vivid and the storytelling is masterful. Hazel & Alice bring this one to life in their incredible version. — Korey
If my words did glow with the gold of sunshine And my tunes were played on the harp unstrung Would you hear my voice come through the music? Would you hold it near as it were your own?
On a warm spring evening in Los Angeles, a revered mix of musicians gathered to lift up the legacy of Jerry Garcia and “to hold the music near as it were their own.” JUBILEE: A Celebration of Jerry Garcia was a very special, one night only benefit concert paying tribute to his 75th birthday, produced by BGS, Goldenvoice, and the Garcia Family.
With an all-star lineup that included the likes of Hiss Golden Messenger, Billy Strings, Molly Tuttle, Margo Price, Stephen Malkmus, Chris Funk, Sam Bush, David Hidalgo (Los Lobos), Jamie Drake, Josh Ritter, and Amos Lee, supported by a house band lead by Benmont Tench and Mike Campbell (of Tom Petty & the Heartbreakers) and Sean and Sara Watkins (of Nickel Creek and Watkins Family Hour), the evening was a love letter to the man whose influence has continued to reach far beyond the confines of the Dead.
Relive some of the amazing collaborations in the photo gallery below:
Name: Jim Olsen, President, Signature Sounds Hometown: Northampton, Massachusetts Latest Album:Golden Age: 25 Years of Signature Sounds Personal nicknames (or rejected band names): Molson
What’s your favorite memory from working in the music business?
I’ve been in the music business in one form or another for over 40 years, so it’s pretty hard to break it down to any one memory. Without question my favorite moments are discovering great new artists and watching them perform for the first time in a small club to an intimate audience. I’ve had the good fortune to see amazing performers like Josh Ritter, Eilen Jewell, and Lake Street Dive way before the rest of the world knew them.
What was the first moment that you knew you wanted to work in the music business?
I grew up in the NYC area, a huge fan of music and WNEW and LLIR, the great progressive radio stations of the time. A career in music never occurred to me until I discovered that my Ithaca College roommate had a show on the campus radio station. It seemed inconceivable that anyone who asked could get a radio show. I’ve worked in radio ever since and have hosted The Back Porch, a weekly roots music show on 93.9 The River in Northampton, Massachusetts, since 1992. Working in radio keeps me connected to new artists and the greater music community.
What advice would you give to an artist who’s pursuing a career as a singer-songwriter?
Aim for quality, not quantity. I think many new singer-songwriters are focused on making album-length statements when a few good songs would be more effective. The streaming age has changed the way we listen to music and the sad truth is that no one has the patience for 12 songs from an unknown artist. Take your time, edit and hone your best songs and present them thoughtfully.
Which elements of nature do you spend the most time with and how do those impact your work?
I’m fortunate to live in a beautiful rural area, and I love to run and bike with a musical soundtrack. I can lose myself completely in the music and scenery to the point of not even being aware of time or commitments. The combination of deep listening and fresh air make it a highlight of the day. I also find that some of my best creative ideas happen on the road.
Since food and music go so well together, what is your dream pairing of a meal and a musician?
My dream pairing involves a fried oyster po’boy and an Abita Turbodog while watching a favorite Louisiana band, like the Iguanas, in front of the Fais Do-Do Stage at Jazzfest in New Orleans. It’s number one on my post-pandemic wish list.
Artist:Josh Ritter Hometown: Brooklyn, New York Song: “Time Is Wasting” Album:See Here, I Have Built You a Mansion Release Date: August 28, 2020 Label: Pytheas Recordings
In Their Words: “See Here, I Have Built You a Mansion is a collection of songs and performances that I love from the previous several years. I did the artwork a while back, and the title just popped into my head. I’ve really been missing making music with my band. On record or live, it’s always an adventure.
“I wrote ‘Time Is Wasting’ for a movie. The song didn’t get used, but I ended up thinking about it again as COVID lockdown stretched away in front of us. The rest of the songs soon fell into place behind it. There is a lot of time and distance and farewell on these recordings.” — Josh Ritter
I love all types of music and song. How beautiful a thing to hear the invisible insides of someone shared outwardly. A culmination of dynamic forces, experiences and sensibilities dialed into pulsating, Pythagorean waveforms, giving color to the space in between. The only catch is we have to trust what we’re hearing is authentic. Whether it’s the tonal intention of a singer or the specific touch of an instrumentalist, the song has to move me in some way or else I’m changing the station. Authenticity is subjective to each listener where no authority exists, though goosebumps, tears, movement, lofty notions and inspiration have always been my litmus tests to playing something thrice or more.
Here’s a list of songs that have moved me in some way worthy of mention. Also, if you’re so moved, check out my album Sojourn of Burning Sun out on August 28. — Daniel Rodriguez
Bill Monroe – “Uncle Pen”
From what I hear, this song is Bill giving gratitude and paying tribute to his actual uncle, Pen [James Pendleton Vandiver]. Pen played the fiddle at family gatherings and inspired Bill to join the musical world. The song structure of “Uncle Pen,” though only a few chords, is kind of complex. It’s a jubilant song with a great melody and has those goosebumping, Appalachian harmonies that Bill and his band often showcased. Probably what I like most about the song is that it appears to skip a beat before the head of each verse. It happens during a G run directly after the chorus that impossibly lands at the head of the next section. Simple genius.
Gregory Alan Isakov – “Amsterdam”
I like pretty much all of Gregory’s songs and his recordings. Catching his band live or him solo is a remarkable experience. I’m lucky to call him a longtime friend and I keep my fandom of his music separate from that. Gregory paints imagery that is most times not specific, which leaves you, as a listener, more in an abstract state of mind. Yet he threads a powerful emotion throughout, which his voice and arrangements unavoidably invoke. He uses imagery of a woman often, which comes across as more a mythical character of the sacred feminine, rather than one of a romantic endeavor. This is apparent in “Amsterdam”: “That howling wind, she’s waving hi, her other hand’s in mine.” The song ascends towards the end in some epic way when Greg moves his voice up an octave and sings “Churches and trains, they all look the same to me now / They shoot you some place, while we ache to come home somehow.” Goosebumps to follow.
Bruce Springsteen – “Youngstown”
The Boss has never failed to paint us the pictures of the struggling American working class. Our popular culture seems to only highlight the celebrities and billionaires, and yet The Boss celebrates and sheds light on the untold stories of the common man, the backbone of our culture. His stories are always rich with the American story, full of its hypocrisies and triumphs. “Youngstown” paints a very real picture of the uphill and endless bogging down of industry and war. The arrangement has a suiting Americana feel, stripped down and intimate. The pedal steel and fiddle give an eerie voice to the emotion of the character in the story who sings, “My sweet Jenny, I’m sinking down, here darling in Youngstown.”
John Prine – “Lake Marie”
When John Prine passed on earlier this year I cried constantly for three days. I’ve been lucky enough to catch him live more than a few times at festivals that we both played. The authenticity in his delivery has healing properties that only a few possess. John touches on all the hidden sadnesses and joys of humanity, and gives color to the seemingly opaque hidden corners of the human condition. “Lake Marie” is a special song with all the ingredients: New love, tenured love, relationship struggles and cold-blooded murder. John delivers this story in a very light-hearted and humorous way. He speaks the verses and accentuates certain parts, which become vital to the song’s DNA. The chorus is maybe the best chorus ever written, beautiful and joyous, juxtaposed with a very brutal and tragic story.
Levon Helm – “The Mountain” (written by Steve Earle)
Just like any song that Levon sings of someone else’s, he makes it his own. That is very much the case with “The Mountain” by Steve Earle. Steve recorded a great version of this song with Del McCoury, but my favorite version is the one Levon sings. It’s about the coal industry brutalizing the natural wonder of a homeplace. Removing mountaintops from where once majestic mountains stood. Filling in swimming holes that you once could cool off from the summer’s heat within its cool mountain runoff. Levon brings you there to those mountains, and he takes you to that swimming hole, and then he shows you the pain of it being no more.
Gillian Welch – “Everything is Free”
When speaking of Gillian’s songs it would be prudent to also mention David Rawlings. The line is blurred when trying to understand who wrote what — and it’s fitting that their voices in harmony become an entity of grace and grit that is alive and well. “Everything Is Free” is a song that hits home for the majority of musicians and artists who are at large suffering in an age where the fruits of their labors are taken for granted. This is certainly reflected by our culture, which would ironically feel the worth of music in its absence. In regards to this, Gillian sings: “If there’s something that you wanna hear you can sing it yourself.”
Leon Bridges – “River”
I’m not a religious person, but I am spiritual. Even though Leon uses biblical terminology in this beautiful song of yearning, and being cleansed from your sins — it’s the intention of the song that shines through and transcends all the negative connotations that might come with organized religion. It’s the true Christian values that are evoked here, of actively wanting to become a better person. It sounds like it was recorded live around one mic in a big room and really captures a beautiful moment of music.
Bob Dylan – “Murder Most Foul”
Bob is my favorite artist and songwriter. I love all the phases of his expression. I don’t subscribe to picking a favorite era or compare everything he creates to what he produced in the 1960s. This brings us to “Murder Most Foul,” a recent release of his. It is a nearly seventeen-minute song that talks about the day and days that followed the assassination of John F. Kennedy. Bob beautifully describes this tragic and heightened moment in history, giving us a stream of consciousness of images peripherally and directly happening around the time of the assassination. The production of this song is very minimal which allows the lyrics to be absorbed and breathe.
Mandolin Orange – “Wildfire”
Growing up and residing in the hills of North Carolina, Mandolin Orange has lived and been more than aware of the culture that exists below the Mason-Dixon Line. Not buying into the rhetoric of those holding on to the nostalgia of the Confederacy, Mandolin Orange gives a historical and psychological look at the wildfire that unfortunately still is fueled today. “Wildfire” is a bit of medicine to us all, and carries a hope that some who might need the medicine most. Listen to this song that is served in the musical genre of its commonplace.
The Del McCoury Band – “Hot Wired” (written by Shawn Camp)
This song is a hoot. It’s very well-written, witty and might even spark a belly laugh or two. It talks about all the things the author’s girlfriend is capable of hot-wiring. My favorite lyric is “She might hot wire your Chevy, she might hot wire your Ford / And if she ever gets to Heaven she might hot wire the Lord.” Del breaks the bluegrass rules on this song and introduces an electric guitar after singing about his girlfriend hot-wiring his acoustic guitar to play like the “doggone Rolling Stones.”
Billie Holiday – “Strange Fruit” (written by Abel Meeropol)
This song is so powerful. Billie Holiday recorded it in 1939. The emotion and dynamics of her timing are delivered in a powerful and haunting way. The fruit that hangs from the trees is not fruit at all. [The song’s titular analogy references lynchings of Black folks.] It is perplexing to me that humanity can stoop so low to such an evil as to think one is inferior to another, where murder is rationalized within such a vitriolic mindset. In this specific case it is rationalized within the minds of pale complexion below the Mason-Dixon line. How those trees still stand and the fruit still hangs, though embedded within policy, social structures, the psychology of an unexamined people and history books with whole chapters missing. Music and song throughout time has been utilized to pass stories down and convey emotions. This is a song that passes down and conveys a traumatic truth; its shockwaves still crash on the shores of our everyday.
Josh Ritter – “Girl in the War”
This is one of my favorite songs. I’ve had the fortunate opportunity to play a bunch of shows with Josh and actually back him up on this song with my old band. I’ve heard him say in an interview that this song is about America. I’ll take his word for it. I’m not quite sure what the song is about myself, but I do know it’s a goosebumper. The recording of the song is stunning and I sure do like to play this song around the fire at gatherings.
Photo credit: Jesse Borrell
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